tag:design.tutsplus.com,2005:/categories/retouchingEnvato Tuts+ Design & Illustration - Retouching2020-03-02T17:03:43Ztag:design.tutsplus.com,2005:PostPresenter/cms-27994How to Realistically Change Hair and Fur Color in Adobe Photoshop<figure class="final-product final-product--image"><img data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/final_image/how-to-change-hair-color-final-min.jpg" alt="Final product image"><!--googleoff: index--><figcaption>What You'll Be Creating</figcaption><!--googleon: index--></figure><p>Do you want to learn how to change hair color in Photoshop? In this tutorial I will show you how to change the color of an object in Photoshop using a very versatile technique. I'll teach you how to select an object and how to adjust its colors without affecting the original image.</p><p>If you're looking for help with your <a href="https://studio.envato.com/explore/photo-editing?&amp;sort=relevance&amp;page=1" target="_self">photo retouching</a> projects, why not consider using <a href="https://studio.envato.com" target="_self">Envato Studio</a>.</p><p>Follow along with us over on our <a href="https://www.youtube.com/user/TutsPremium" target="_self">Envato Tuts+ YouTube channel</a>:</p><figure data-video-embed="true" data-original-url="https://www.youtube.com/watch?v=voZJW0SqbEw" class="embedded-video">
<iframe data-src="//www.youtube.com/embed/voZJW0SqbEw?rel=0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen" frameborder="0"></iframe>
</figure><h2>Tutorial Assets</h2><p>You'll need the following in order to complete this task:</p><ul>
<li>Your own photo!</li>
<li>Optional: <a href="https://elements.envato.com/cheerful-pretty-woman-QVMMLEU" target="_self">woman portrait</a><br>
</li>
</ul><h2>
<span class="sectionnum">1.</span> How to Select Hair Only in Photoshop</h2><p>This part is the most difficult, because hair can be very chaotic. To ensure the best result, use a photo with a contrasting background (possibly white), with your hair mostly in the back (or, if not possible, lying on a contrasting shirt), and remove any fly-away hair.</p><p>The photo should be high-resolution and sharp. <br></p><figure class="post_image"><img alt="woman portrait hair stock" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-0.jpg"></figure><h3>Step 1</h3><p>Open your photo in Photoshop. Find the Lasso Tool on the toolbar and press it to reveal the sub-tools. Select the <strong>Magnetic Lasso Tool</strong>.<br></p><p><img alt="magnetic lasso tool" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-1-min.png"></p><h3>Step 2</h3><p>Click somewhere over the outline of the hair, and then slowly move along it. Do your best, but don't worry about a perfect outcome—we'll fix it all in a moment. After you meet the first point, click it to close the selection.<br></p><figure class="post_image"><img alt="how to select hair with magnetic lasso tool" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-2-min.jpg"></figure><figure class="post_image"><img alt="selection" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-3-min.jpg"></figure><h3>Step 3</h3><p>We have a selection now, but it's not perfect. To fix it, click <strong>Refine Edge</strong>.<br></p><figure class="post_image"><img alt="how to refine edge of selection" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-4-min.png"></figure><h3>Step 4</h3><p>A new window will show up, and the picture will change to present the edge of the selection. You can choose the way of presenting it. <strong>Overlay </strong>shows the best the picture outside of the selection (for example, hair that's not selected yet), and <strong>On Black/On White</strong> shows the selected area most clearly. You can easily switch between them using the shortcuts.<br></p><figure class="post_image"><img alt="refine edge view options" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-5-min.png"></figure><p>Check<strong> Smart Radius</strong> and play with the slider below a little. Observe how it affects the edge of the selection.<br></p><figure class="post_image"><img alt="refine edge smart radius how to change" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-6-min.png"></figure><h3>Step 5</h3><p>If you move your cursor over the picture, you'll notice you have a special brush—it's called the <strong>Refine Radius Tool</strong>. You can use it to show the program the places that should be carefully added to the selection. You can also hold the <strong>Alt</strong> key to remove certain parts of the selection, but keep in mind it's based on a special algorithm and may not work exactly as you expect.</p><p>Be patient and feel free to experiment. If you mess up, you can always cancel and start with a clean slate. <br></p><figure class="post_image"><img alt="how to separate hair from background photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-7-min.jpg"></figure><p>Switch between the views to see the outcome better. You can "paint" in all the views, but in most of them you can't see what's not selected.<br></p><figure class="post_image"><img alt="how to select hair in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-8-min.jpg"></figure><h3>Step 6</h3><p>When you're done, change <strong>Output</strong> to <strong>New Layer with Layer Mask</strong> and press <strong>OK</strong>.<br></p><figure class="post_image"><img alt="how to create selection from refine edge" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-9-min.png"></figure><h3>Step 7</h3><p>A copy of the layer will be created. If you hide the original one, you should see the hair only.<br></p><figure class="post_image"><img alt="how to create selection from hair" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-10-min.jpg"></figure><p>But as powerful as the Refine Edge tool is, it's still program-based, so it can't see everything. Let's add some manual fixes. <br></p><p>Add a <strong>New</strong><strong> Layer </strong>on the bottom and fill it with black using the paint <strong>Bucket Tool </strong>(<strong>G</strong>). Then lower the <strong>Opacity</strong> of the original picture to see the face only slightly.<br></p><figure class="post_image"><img alt="how to clean up hair" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-11-min.jpg"></figure><h3>Step 8</h3><p>Go back to the copied layer. It has a <strong>Layer Mask</strong>: black areas on the mask tell the layer which areas should be transparent, and white tell it which should be opaque. If you click on the mask, you can paint on it to modify it using these rules. <br></p><p>Take a soft brush with a low <strong>Flow</strong> and carefully modify the areas next to the skin. The change between the skin and hair shouldn't be too abrupt. Use black, white, or various shades of gray to make certain parts transparent, opaque, or in various levels of transparency.</p><p>You can learn more about this technique here:</p><ul class="roundup-block__contents posts--half-width roundup-block--list"><li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/quick-tip-layer-mask-vs-the-eraser-tool-in-adobe-photoshop--cms-24392"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/33/posts/24392/preview_image/layer-mask-photoshop-preview.jpg"><div class="roundup-block__primary-category topic-design">Adobe Photoshop</div>
<div class="roundup-block__content-title">Quick Tip: Layer Mask vs. the Eraser Tool in Adobe Photoshop</div>
<div class="roundup-block__author">Monika Zagrobelna</div></a></li></ul><figure class="post_image"><img alt="how to cut hair to a new layer" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-12-min.jpg"></figure><p>When you're done, simply remove the black layer and drag the <strong>Opacity</strong> of the original picture back to <strong>100%</strong>.<br></p><h2>
<span class="sectionnum">2.</span> How to Change the Color of an Image in Photoshop</h2><h3>Step 1<br>
</h3><p>Photoshop now knows what we want to change, so it's time for the fun part! Open <strong>Window &gt; Adjustments</strong> and select the <strong>Hue/Saturation</strong> adjustment.<br></p><figure class="post_image"><img alt="how to add new adjustment" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-13-min.png"></figure><h3>Step 2</h3><p><strong>Clip</strong> the adjustment (<strong>Control-Alt-G</strong>) to make it affect only the hair. Check <strong>Colorize</strong> to have full access to all the options, and then play with the <strong>Hue</strong> slider to change the colors. This will allow you to explore the colors within your present shade. <br></p><figure class="post_image"><img alt="how to colorize hair" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-14-min.jpg"></figure><p>You can also easily make the color darker with this technique just by lowering the <strong>Lightness</strong>. So if you have blond hair, you're lucky—you can get all the beautiful colors just by playing with the sliders!<br></p><figure class="post_image"><img alt="how to darken hair in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-19-min.jpg"></figure><h3>Step 3</h3><p>If you want a more saturated color, and your hair is dark, there's more work to do. First create a darker version of the color, and then duplicate the adjustment (<strong>Control-J</strong>) and create the color you actually want.</p><figure class="post_image"><img alt="how to change hair color in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-14-2min.jpg"></figure><p>Right click the second adjustment layer and select <strong>Blending Options</strong>. Can you see the grayscale sliders below? You can use them to make certain parts of the picture transparent. I've explained it all in this quick tutorial:</p><ul class="roundup-block__contents posts--half-width roundup-block--list"><li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/quick-tip-the-magic-of-photoshops-blend-if--cms-23862"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/23862/preview_image/blend-if-tip-prev.jpg"><div class="roundup-block__primary-category topic-design">Digital Painting</div>
<div class="roundup-block__content-title">Quick Tip: the Magic of Photoshop's Blend If </div>
<div class="roundup-block__author">Monika Zagrobelna</div></a></li></ul><p>For now, you only need to know that if you drag the lower black marker to the right, the layer will reveal the darker parts of the layer below. If you hold the <strong>Alt </strong>key, the marker will split and the effect will be more gradual.<br></p><figure class="post_image"><img alt="how to use blend if" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-15-min.png"></figure><figure class="post_image"><img alt="how to create saturated hair color" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-16-min.jpg"><figcaption>Blend-if lets you create a nice contrast without adding any new adjustment layers.<br></figcaption></figure><h3>Step 4</h3><p>You can use exactly the same method to add highlights. Just create a new adjustment layer with an extreme version of the same color...<br></p><figure class="post_image"><img alt="how to changle hair saturation" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-17-min.jpg"></figure><p>... and remove most of it, keeping it visible only over the bright parts.<br></p><figure class="post_image"><img alt="how to create mutliple color adjustments" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-18-min.jpg"></figure><h3>Step 6<br>
</h3><p>What about bright colors, like blond? Just like with real dark hair, we need to bleach it first. Create three adjustment layers with no saturation: dark—brighter—bright, and use Blend-if to combine them.<br></p><figure class="post_image"><img alt="how to bleach hair in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-20-min.jpg"></figure><figure class="post_image"><img alt="how to create grey hair in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-21-min.jpg"></figure><figure class="post_image"><img alt="how to create brighter hair color in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-22-min.jpg"></figure><h3>Step 7</h3><p>When you're done, you can adjust the shades to achieve a uniform result and even paint on the masks if something looks wrong.<br></p><figure class="post_image"><img alt="how to adjust adjustments" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-23-min.jpg"></figure><h3>Step 8</h3><p>Now you can easily add another adjustment layer with any bright color you wish!<br></p><figure class="post_image"><img alt="how to turn hair color to blond in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-1-24-min.jpg"></figure><h2>Good Job!</h2><p>You can use this technique to create many beautiful shades, both realistic and unreal. Just keep in mind you need to control the contrast on your own—Photoshop won't stop you from creating a fake effect. </p><p>If you want to share your results, don't forget to adjust the original hair mask to make sure everything looks the best it can (for example, bright, vivid colors should reflect subtly on the face). Feel free to use other adjustments or blend various colors to create even more advanced effects!<br></p><figure class="post_image"><img alt="how to change hair color in photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-final-min.jpg"></figure><p>The same technique can be used to color animal fur or other areas of the picture (as long as you select them properly). Experiment with this to learn it better—it's really fun!<br></p><figure class="post_image"><img alt="invert colors photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/27994/image/how-to-change-hair-color-final-fur.jpg"></figure><p>If you want to learn more about creating Photoshop effects, try these tutorials as well:<br></p><ul class="roundup-block__contents posts--half-width roundup-block--list">
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-make-a-frequency-separation-photoshop-action--cms-33107"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/preview_image/frequency-separation-action-preview.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Make a Frequency Separation Photoshop Action</div>
<div class="roundup-block__author">Monika Zagrobelna</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/create-a-strawberry-lips-effect-with-photoshop--cms-28583"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/preview_image/lips-thumbnail.jpg"><div class="roundup-block__primary-category topic-design">Photo Manipulation</div>
<div class="roundup-block__content-title">How to Create a Strawberry Lips Effect for Beginners in Adobe Photoshop</div>
<div class="roundup-block__author">Jenny Le</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-create-and-use-luminosity-masks-in-adobe-photoshop--cms-23549"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/254/posts/23549/preview_image/PreviewImage.jpg"><div class="roundup-block__primary-category topic-design">Layer Masks</div>
<div class="roundup-block__content-title">How to Create and Use Luminosity Masks in Adobe Photoshop</div>
<div class="roundup-block__author">Kirk Nelson</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/remove-an-object-in-affinity-photo--cms-33724"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/1990/posts/33724/preview_image/preview-template.jpg"><div class="roundup-block__primary-category topic-design">Photo Effects</div>
<div class="roundup-block__content-title">How to Remove an Object in a Photo in Affinity Photo</div>
<div class="roundup-block__author">Abbey Esparza</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/make-a-trendy-double-exposure-effect-in-adobe-photoshop--cms-23774"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/107/posts/23774/preview_image/16-trendy-double-exposition-screen400.jpg"><div class="roundup-block__primary-category topic-design">Photo Manipulation</div>
<div class="roundup-block__content-title">Make a Trendy Double Exposure Effect in Adobe Photoshop</div>
<div class="roundup-block__author">Yulia Sokolova</div></a></li>
</ul>2020-03-02T17:03:43.000Z2020-03-02T17:03:43.000ZMonika Zagrobelnatag:design.tutsplus.com,2005:PostPresenter/cms-33107How to Make a Frequency Separation Photoshop Action<figure class="final-product final-product--image"><img data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/final_image/frequency-separation-action-final.jpg" alt="Final product image"><!--googleoff: index--><figcaption>What You'll Be Creating</figcaption><!--googleon: index--></figure><p>Although retouching is an art that requires time and skill, Photoshop actions can automate some of the repetitive tasks. In this tutorial, I'll show you how to create an action in Photoshop to automate one such task. Frequency separation allows you to edit the colors and textures separately, to retouch the skin without turning it into a plastic mask. With a frequency separation action, you'll be able to do retouching much faster!</p><p>If you want to learn how to use Photoshop actions or what Photoshop actions are, you may want to check these tutorials first:</p><ul class="roundup-block__contents posts--half-width roundup-block--list">
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/photoshop-in-60-seconds-photoshop-actions-and-how-to-use-them--cms-27119"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/254/posts/27119/preview_image/previewImage.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">What Are Photoshop Actions and How to Install Photoshop Actions</div>
<div class="roundup-block__author">Kirk Nelson</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/articles/how-to-install-photoshop-actions-in-adobe-photoshop--cms-32178"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/32178/preview_image/install_PS_actionpre.jpg"><div class="roundup-block__primary-category topic-design">Adobe Photoshop</div>
<div class="roundup-block__content-title">How to Install Photoshop Actions</div>
<div class="roundup-block__author">Melody Nieves</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/articles/how-to-use-photoshop-actions-in-adobe-photoshop--cms-32198"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/32198/preview_image/use_Ps_actionspre.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Use Photoshop Actions</div>
<div class="roundup-block__author">Melody Nieves</div></a></li>
</ul><p>Follow along with us over on our <a href="https://www.youtube.com/user/TutsPremium" target="_self">Envato Tuts+ YouTube Channel</a>:</p><figure data-video-embed="true" data-original-url="https://www.youtube.com/watch?v=Y1wH8hA7U9s" class="embedded-video">
<iframe data-src="//www.youtube.com/embed/Y1wH8hA7U9s?rel=0" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
</figure><h2>How to Create a Frequency Separation Action</h2><h3>Step 1<br>
</h3><p>Open your photo in Photoshop. Make sure your image is the background layer. If not, go to <strong>Layer &gt; New &gt; Background from Layer</strong>.</p><figure class="post_image"><img alt="background from layer" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-1.jpg"></figure><h3>Step 2<br>
</h3><p>Create a <strong>New Action</strong>. <br></p><figure class="post_image"><img alt="create enw action" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-2.jpg"></figure><h3>Step 3<br>
</h3><p>Give it a name.</p><figure class="post_image"><img alt="name your action" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-3.jpg"></figure><h3>Step 4<br>
</h3><p><strong>Duplicate</strong> the layer twice by pressing <strong>Control-J</strong>. Name the lower layer <em>Low Frequency</em> and the upper one <em>High Frequency</em>. Hide the <em>High Frequency</em> layer.</p><figure class="post_image"><img alt="duplicate layers" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-4.jpg"></figure><h3>Step 5<br>
</h3><p>Select the <em>Low Frequency</em> layer and go to <strong>Filter &gt; Blur &gt; Gaussian Blur</strong>. Adjust the <strong>Radius</strong> to remove most of the details. We want this layer to contain colors, but not texture.</p><figure class="post_image"><img alt="add gaussian blur" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-5.jpg"></figure><h3>Step 6<br>
</h3><p>Show the other layer and change its <strong>Blend Mode </strong>to <strong>Linear Light</strong>. <br></p><figure class="post_image"><img alt="change mode to linear light" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-6.jpg"></figure><h3>Step 7<br>
</h3><p>Go to <strong>Filter &gt; Other &gt; High Pass.</strong> Adjust the <strong>Radius</strong> to bring the texture back. Keep it subtle, trying to avoid the glow.</p><figure class="post_image"><img alt="add high pass filter" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-7.jpg"></figure><figure class="post_image"><img alt="high pass sharpening" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-8.jpg"></figure><h3>Step 8<br>
</h3><p>Click <strong>Stop Recording</strong>.</p><figure class="post_image"><img alt="stop recording action" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-9.jpg"></figure><h3>Step 9<br>
</h3><p>The problem with this action is that every photo needs a different radius for blur and high pass. To make it more universal, check the square next to these positions on the list. <br></p><figure class="post_image"><img alt="make action customizable" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-10.jpg"></figure><h3>Step 10<br>
</h3><p>Now, every time you play the action, you'll be asked to adjust the Radius manually.</p><figure class="post_image"><img alt="play an action" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-11.jpg"></figure><h3>Step 11<br>
</h3><p>Here's where the action ends. Now you have two layers: <em>Low Frequency</em> contains colors, and <em>High Frequency</em> contains texture. You can edit them separately. </p><p>First, hide the <em>High Frequency</em> layer. Use the <strong>Healing Brush Tool</strong> <strong>(J)</strong> or the <strong>Clone Stamp Tool (S)</strong> to replace the colors and tones that you don't want to see with colors from other areas. It may take a while, but with this method you don't have to worry about losing texture in the process. You can focus completely on the colors.</p><figure class="post_image"><img alt="retouch colors and tones" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-12.jpg"></figure><figure class="post_image"><img alt="basic photoshop retouch" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-14.jpg"></figure><h3>Step 12<br>
</h3><p>Next, show the <em>High Frequency</em> layer. Make sure that your Healing Brush is set to <strong>Current Layer</strong> only. Then repeat the process, this time filling the unwanted areas with the proper texture. Again, it may be time-consuming, depending on the task, but here you don't need to care about the colors. You can borrow the texture from any area, regardless of its background. This makes the process much easier.</p><figure class="post_image"><img alt="retouch texture" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-13.jpg"></figure><figure class="post_image"><img alt="how to retouch skin" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-15.jpg"></figure><h2>Retouching Photoshop Actions</h2><h3>
<a href="https://elements.envato.com/frequency-separation-photoshop-actions-MJ78AY" target="_self">Frequency Separation Photoshop Actions</a><br>
</h3><p>As you can see, Photoshop actions can make the process of retouching easier and faster. But more powerful actions can even do most of the work for you! For example, this set contains highly intelligent actions that utilize face detection to create frequency separation, and it offers an auto-retouch feature as well.<br></p><figure class="post_image"><a href="https://elements.envato.com/frequency-separation-photoshop-actions-MJ78AY" target="_self"><img alt="Frequency Separation Photoshop Actions" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-promo-1.jpg"></a></figure><h3><a href="https://elements.envato.com/skin-retouching-actions-U8PKXN" target="_self">Skin Retouching Actions</a></h3><p>These actions let you retouch portraits in a fraction of the time
with only a beginner's knowledge of Photoshop. You can mattify, airbrush,
and heal skin using the same techniques professionals use. This set contains tools like mattifier, lip enhancer, teeth whitener, and more.<br></p><figure class="post_image"><a href="https://elements.envato.com/skin-retouching-actions-U8PKXN" target="_self"><img alt="Skin Retouching Actions" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-promo-2.jpg"></a></figure><h3>
<a href="https://elements.envato.com/beauty-box-V7HX8F" target="_self">Beauty Box Photoshop Actions</a><br>
</h3><p>From high-end magazine-quality editing to quick retouching for
everyday use, the “Beauty Box” is all you will need! This collection has
gone above and beyond any other beauty retouching set on the market, by
bringing you one-of-a-kind skin shade matching techniques and an
array of beautifully blended digital cosmetics.</p><figure class="post_image"><a href="https://elements.envato.com/beauty-box-V7HX8F" target="_self"><img alt="Beauty Box Photoshop Actions" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-promo-3.jpg"></a></figure><h3>
<a href="https://elements.envato.com/skin-retouch-photoshop-actions-vol-2-2SXFFD" target="_self">Skin Retouch Photoshop Actions Vol. 2</a><br>
</h3><p>This set offers a variety of effects that are easy to use and customize. After playing an action, simply open the action folder in the
layers palette and adjust each individual layer’s opacity and blending mode. You have the power to adjust as necessary to fine tune each action for
your personal needs.</p><figure class="post_image"><a href="https://elements.envato.com/skin-retouch-photoshop-actions-vol-2-2SXFFD" target="_self"><img alt="Skin Retouch Photoshop Actions Vol 2" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-promo-5.jpg"></a></figure><h2>Good Job!<br>
</h2><p>Now you know how to create a frequency separation action in Photoshop. If you want to learn how to create other Photoshop actions, check out our tutorials:</p><ul class="roundup-block__contents posts--half-width roundup-block--list">
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-create-an-adobe-photoshop-action--cms-32226"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/32226/preview_image/action-preview.jpg"><div class="roundup-block__primary-category topic-design">Photography</div>
<div class="roundup-block__content-title">How to Create a Basic Photoshop Action for Your Photography</div>
<div class="roundup-block__author">Marie Gardiner</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-create-a-photoshop-action-to-blur-a-background-in-a-photograph--cms-32697"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/32697/preview_image/how-to-blur-background-in-photoshop-preview.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Blur a Background in Photoshop</div>
<div class="roundup-block__author">Monika Zagrobelna</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/articles/how-to-customize-photoshop-actions-in-adobe-photoshop--cms-32164"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/32164/preview_image/QT_usingPSactionspre.jpg"><div class="roundup-block__primary-category topic-design">Adobe Photoshop</div>
<div class="roundup-block__content-title">How to Customize a Photoshop Action</div>
<div class="roundup-block__author">Melody Nieves</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-create-a-photoshop-action-to-turn-a-photo-into-a-drawing--cms-32617"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/32617/preview_image/photo-to-drawing-action-preview.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Create a Photoshop Action to Turn a Photo Into a Drawing</div>
<div class="roundup-block__author">Monika Zagrobelna</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-create-a-photo-to-watercolor-photoshop-action--cms-31914"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/1437/posts/31914/preview_image/preview.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Create a Photo to Watercolor Photoshop Action</div>
<div class="roundup-block__author">Marko Kožokar</div></a></li>
</ul><figure class="post_image"><img alt="how to retouch skin with photoshop action" data-src="https://cms-assets.tutsplus.com/uploads/users/108/posts/33107/image/frequency-separation-action-final.jpg"></figure>2019-06-06T10:00:00.000Z2019-06-06T10:00:00.000ZMonika Zagrobelnatag:design.tutsplus.com,2005:PostPresenter/cms-30700How to Design Elegant Business Card Mockups Using Smart Objects in Photoshop<figure class="final-product final-product--image"><img data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/final_image/01-flyer-business-card-mock-up-tutorial.jpg" alt="Final product image"><!--googleoff: index--><figcaption>What You'll Be Creating</figcaption><!--googleon: index--></figure><p>In this tutorial we'll create an editable <a href="https://placeit.net/business-card-mockups" target="_self">business card mockup</a> using very simple photography and Photoshop techniques. You'll be able to transform your photo into a customizable template, to showcase your design with elegance.</p><p>You can find my <a href="https://graphicriver.net/item/elegant-business-card-flyer-mockups/21444591" rel="external" target="_blank">Business Cards mockups</a> Bundle with 15 mockups on <a href="https://graphicriver.net" target="_self">GraphicRiver</a>.<br></p><figure class="post_image"><a href="https://graphicriver.net/item/elegant-business-card-flyer-mockups/21444591" rel="external" target="_blank"><img alt="Elegant Business Card Mockup Bundle Photoshop psd Templates" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/business-cards-mock-up-bundle-psd-template.jpg"></a></figure><h2>What Is a Mockup?</h2><p>A mockup is an editable template that you can use to showcase a replica/model of your final product: in the graphic design field, it's used to offer your clients a <em>very detailed preview of what they ordered</em>—in this case, a photo of their printed business cards.</p><figure class="post_image"><img alt="What is a psd template mockup" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/00-flyer-business-card-mock-up-tutorial.jpg"></figure><h2>The Workflow</h2><p>These are the steps we're going through for this tutorial:</p><ol>
<li>
<em>How to Design Your Card/Flyer. </em>Use any software you prefer; Illustrator and InDesign are recommended when designing printable graphics.</li>
<li>
<em>How to Photograph the Business Cards.</em> Place blank cards or any stationery element on a surface and take photos of them.</li>
<li>
<em>How to Choose and Edit the Photos in Photoshop. </em>Choose the best photos and retouch the composition.</li>
<li>
<em>How to Add Smart Objects to the Photographs. </em>The card design will be added using these smart templates that automatically apply transformations and filters to a given image.</li>
</ol><p>You can apply the techniques used in this tutorial when creating any type of stationery or branding mockup, so that you can show your customers a photo of the final printed result, without having to actually print it.</p><p>Not everyone has access to professional photo shooting tools, but I will show you how to achieve a professional looking mockup nonetheless. For this tutorial, you need Adobe Photoshop CS5 (or superior) and the best camera that you can access (even a good smartphone camera is surprisingly efficient).</p><h2>
<span class="sectionnum">1.</span> How to Design Your Business Card</h2><h3>Step 1</h3><p>When you have to design a standard business card, consider the country to which you will have to deliver it and <em>establish with your client the dimensions before starting your work. </em>Each country has its own most used dimensions; you can refer to <a href="https://en.wikipedia.org/wiki/Business_card" rel="external" target="_blank">this guide for more information</a>. </p><p>You most likely want to set up your document in Illustrator or InDesign, because they're specifically created for the printing process. However, Photoshop can prepare a print document as well. </p><p>If you like to work in Photoshop when it comes to printable graphics, you can use these <a href="https://graphicriver.net/item/print-templates-maker-automatic-bleeds-and-size/1462132" rel="external" target="_blank">useful Photoshop Actions</a>: they automatically create documents in CMYK mode, 300DPI, with most of the standard international print sizes, including bleeds (necessary for the printing process).</p><figure class="post_image"><img alt="Business Card psd template with guides" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/02-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 2</h3><p>When creating a mockup, you don't need to consider the bleeds and cut size because you can just place your design in the correct position. However, you should <em>always </em>design a business card in vector format, with print-ready colors, and consider the necessary bleed amount. Check out more detailed guides on how to design a business card if you want more information. </p><p>For this tutorial, we'll use this simple design that I prepared.</p><figure class="post_image"><img alt="Business Card Design Sample" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/04-flyer-business-card-mock-up-tutorial.jpg"></figure><h2>
<span class="sectionnum">2.</span> How to Prepare the Scene and Take Photos of Blank Business Cards </h2><p>When it comes to photography, there's a great abundance of guides and books dedicated to the photo shooting process: the lighting setup, the camera setup, etc. I'm not going to pretend to give you a complete explanation of these vast topics in these few lines, but I will tell you the simple key steps that will make your photo decent, even if the setup and the lights are not ideal.</p><h3>Step 1</h3><p><em>A darker photo is always better than a brighter one</em>. To deal with an underexposed photo is easier than an overexposed one.<b> </b>To retouch a darker photo is better than a darker one because in Photoshop you can restore information from darker shadow areas and reveal some of the lost details a lot more easily than you can from areas that are too bright, where sometimes all the pixels are just plain white.</p><figure class="post_image"><img alt="White Business Cards on clean clear table" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/07-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 2</h3><p><em>Always have one or more dominant light sources. </em>Try to have a clear light direction in order to create an attractive defined contrast between lights and shadows that will make your design a lot more distinguishable.</p><p>If you have no distinctive light in your scene, the subject will be very dull and bland in the final photo. You can use as many lights as you want. If you think the natural available light is too strong and will burn your shot, tune down the exposure in your camera: the correct exposure is always between 0 and -1.</p><figure class="post_image"><img alt="Visual differences between Light exposures of 0 and -1" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/09-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 3</h3><p><em>Be generous with the subject's background.</em><em> </em>Maybe this is personal, but from experience I think it's always better that you take a photo which includes more background than you will actually need: you can crop the photos in Photoshop carefully and focus on the exposure and scene while taking the photos.</p><p>Many times it will happen that you want more "air" on your subject, and you'll have to create parts of the background because we took the photo too close to the subject.</p><figure class="post_image"><img alt="White Business Cards on dark brown table Original Photo" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/05-flyer-business-card-mock-up-tutorial.jpg"></figure><p>For this tutorial we'll be working on this sample above<em>: </em>as you can see, I included more background than I would need, so that in Photoshop we have an easier time cropping the subject and a lot of space to work with. Below,<em> </em>you can see the actual final area used.</p><figure class="post_image"><img alt="White Business Cards on dark brown table Crop Guides in Photoshop" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/06-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 4</h3><p><em>Prepare the scene, being consistent with your task. </em>Take your time positioning your elements on the surface and use your taste trying to create a composition that makes sense. Showing two sides of the card is the most obvious choice, but not mandatory.<br></p><p>For example, it's not a fixed rule that the cards have to be placed with geometry (as I do in most my mockups because they look more institutional/corporate): in fact, they could be scattered on the table, or even aligned as a card castle as long as you think it's attractive for you or your client. </p><p>Experiment, and don't stop trying other positions, moving the elements on the surface. Take many photos from many angles, change the light direction and intensity, etc. Always guarantee yourself plenty of selections at the end of the shooting section.</p><figure class="post_image"><img alt="White Business Cards on white clear table psd template" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/08-flyer-business-card-mock-up-tutorial.jpg"></figure><h2>
<span class="sectionnum">3.</span> How to Do the Photo Selection and Retouching</h2><h3>Step 1</h3><p>Once we have finished the photography phase, transfer the photos from the camera to the computer and open Photoshop. If you prefer Lightroom<strong> </strong>to adjust lighting and contrast, that is also a very valid alternative, but you will need Photoshop to create the Smart Objects for the business card design.</p><p>Let's continue with our sample: we've reached the point where we've decided how to crop our photo to enhance the subject. Use the <strong>Cropping Tool </strong><strong>(C) </strong>or make a <b>Selection </b>with the<b> Rectangular Marquee Tool (M)</b> and then go to <strong>Image &gt; Crop</strong>.</p><figure class="post_image"><img alt="White Business Cards on dark brown table Cropping Process" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/10-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 2</h3><p>Now let's move on to adjusting the lighting, color, and contrast, and removing eventual spots and unwanted details. Before doing anything, we want to remove dust and spots that sometimes will be visible on the surface that we used, especially if it's dark.</p><figure class="post_image"><img alt="Cleaning the unwanted spots with Clone Stamp S" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/11-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 3</h3><p>Select the <strong>Clone Stamp Tool (S)</strong>, <strong>Alt-click </strong>on a clean spot to refer to that portion of image, and then click on the spot that you want to cover. Also, the <strong>Healing Brush Tool (J) </strong>can be used efficiently. Below is the clean photo.</p><figure class="post_image"><img alt="White Business Cards on dark table cropped and clean photo" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/12-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 4</h3><p>To reduce the reddish tone of the photo, I applied these "Black &amp; White" adjustment settings. To create a new Adjustment Layer, go to <strong>Layer </strong>&gt; <strong>New Adjustment Layer</strong> &gt; <strong>Black &amp; White...</strong></p><figure class="post_image"><img alt="Black and White Adjustments" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/13-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 5</h3><p>I added also a soft light in the center to brighten the scene a bit. To create that soft light effect, pick a large <strong>Brush (B)</strong> with hardness set to <strong>0%</strong>, and paint a white circle on a <strong>New Layer</strong>. Change the <strong>Blending Mode</strong> of this layer to <strong>Soft Light</strong>, and our document should look like the image below.</p><figure class="post_image"><img alt="Adding a soft light to a photo using a New Layer and the Brush Tool B" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/14-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 6</h3><p>Now it's time to add the Smart Objects that will contain our card designs. First of all, we need a template the same size as the card, so we create a selection using the <strong>Rectangular Marquee Tool (M)</strong> in <strong>Fixed Ratio</strong> mode, and enter the proportions of our card, which are in this case <strong>3.5 x 2</strong> since the card itself is 3.5 in x 2 in.</p><p>It's not important that this selection matches the actual size of the card design; however, it is mandatory that we use the <em>same proportions</em>. In this step, you have to create a selection which is as close as possible to the business card below. It depends on the photograph's dimensions.</p><figure class="post_image"><img alt="Selection that will be the template for the Business Card the Selection must be the same proportions of the Business Card design " data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/15-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 7</h3><p>Fill the selection with any color on a <strong>New Layer</strong> and name this layer <em>Front Card</em>.<br>The layer in blue named Front Card will become our front card design.</p><figure class="post_image"><img alt="Selection Fill with any Color on a New Layer" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/16-flyer-business-card-mock-up-tutorial.jpg"><br></figure><h3>Step 8</h3><p><strong>Right Click</strong> on it in the <strong>Layers </strong>panel and <strong>Convert to Smart Object. </strong></p><figure class="post_image"><img alt="Conversion of the Layer into a Smart Object" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/17-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 9</h3><p>Set the <em>Front Card</em> Layer to <strong>Multiply </strong><strong>Blending Mode</strong> so we can see what happens, and transform the layer using the <strong>Free Transform Tool</strong> (<strong>Control-T</strong>). At the corners of your layer there are anchor points indicated by small squares; while holding <strong>Control</strong>, click<strong> </strong>on each of them to position this layer and match the card's perspective. </p><figure class="post_image"><img alt="Transformations of the Smart Object Layer to match the photography" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/18-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 10</h3><p>Sometimes you will also need to use the <strong>Warp Tool</strong> while transforming, because the cards bend slightly. (The Warp Tool on Smart Objects is available only from Photoshop CS5 and higher.)<br></p><figure class="post_image"><img alt="Transformations of the Smart Object Layer to match the photography using also the Warp Tool" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/19-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 11</h3><p>Do the same process with the card back, creating a <strong>New Smart Object</strong> (we're using a red color this time). The fastest way to do this is to create a duplicate of that <em>Front Card S</em>mart Object. </p><p>So <strong>Right-Click</strong> on the <em>Front Card</em> Layer and choose the option <strong>New Smart Object Via Copy</strong>, which will create a new editable copy of that Smart Object.</p><figure class="post_image"><img alt="Creation of a New Smart Object via Copy of the Business Card Template" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/20-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 12</h3><p>Enter in the newly created Smart Object (<strong>Right Click</strong> &gt; <strong>Edit Contents</strong>) and fill this one with another color (I used red) so we can distinguish them better. Finally, name this red layer <em>Back Card</em>. Apply the same transformations as we did with the blue layer, trying to match the corners as precisely as possible. The document should look like this.</p><figure class="post_image"><img alt="The Front Card blue and Back Card red Business Cards Mockups Templates" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/21-flyer-business-card-mock-up-tutorial.jpg"><br></figure><h3>Step 13</h3><p>In this case, for the red <em>Back Card</em> layer, we will also have to apply a <strong>Layer Mask</strong> because the card at the back is partially covered by the ones in front. To do so, hold <strong>Control </strong>and click<strong> </strong>on the <em>Front Card</em> layer in the<strong> Layers </strong>panel; this will create the selection that we need. </p><figure class="post_image"><img alt="Selection for the Mask of The Business Card Back Card Layer" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/22-flyer-business-card-mock-up-tutorial.jpg"><br></figure><h3>Step 14</h3><p>Then click<strong> </strong>on the <em>Back Card</em> layer and then on the <strong>Layer Mask </strong>icon.</p><figure class="post_image"><img alt="The Layer Mask on the Back Card Layer not inverted according to selection" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/23-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 15</h3><p>We just need to <strong>Invert </strong>the Layer Mask for our task, so click <strong>Control-I</strong> on the Layer Mask.</p><figure class="post_image"><img alt="The Layer Mask on the Back Card Layer inverted" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/24-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 16</h3><p>Make manual adjustments if needed; below you can see how it was necessary to cover a bit of the card space that didn't match the starting selection. Using the <strong>Lasso Tool (L)</strong>, we select the small parts that still need masking.</p><figure class="post_image"><img alt="Manual Adjustments with the Lasso Tool L on the Layer Mask" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/25-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 17</h3><p>Now we need to blend the cards smoothly into the photo. The <strong>Multiply Blending Mode</strong> and the <strong>Layer Mask</strong> already do a great job, giving the illusion that the tops of the cards are now blue and red, but there's a detail that makes the composition still not realistic, and that is the depth of field.</p><p>To give the illusion of depth of field in certain areas, we just need to blur the edges of the Smart Objects so that they match the amount of blur in the photo below. Select the <em>Back Card</em> Layer (and not the Mask), go to <strong>Filter </strong>&gt; <strong>Blur </strong>&gt; <strong>Gaussian Blur</strong>, and choose an amount that matches the photograph below—for our photo, a value of 2/3 pixels.</p><figure class="post_image"><img alt="Non Destructive Smart Filter Blur application on the Smart Object " data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/26-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 18</h3><p>Below you can see the edges before and after the blur. Remember to work on the Smart Object so that it will register the <strong>Blur Filter</strong> as a <strong>Smart Filter</strong> and it will not modify the starting image inside of it. That's why it's called non-destructive, because it doesn't actually modify the content of the Smart Object, but it works on its appearance. </p><p>As you can see on the right where the Blur has been applied, the corners and edges blend together with the photo, resulting in a more realistic effect. But not only the edges—once you apply the design on the card, it will look out of place if it's really focused and sharp, while the area surrounding it is all blurred. </p><p>The blur amount must be consistent throughout the picture in order for the design to really blend in the photo. <br></p><figure class="post_image"><img alt="Template differences with and without Blur applied" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/27-flyer-business-card-mock-up-tutorial.jpg"><br></figure><h3>Step 19</h3><p>Select <em>Back Card</em>, <strong>Right Click</strong> on the layer, and then <strong>Edit Contents</strong>: doing so will open a new document (the Smart Object) where you can see our red layer. <br></p><figure class="post_image"><img alt="How to Edit Contents of a Smart Object and place your own image" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/28-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 20</h3><p>The content of the Smart Object should look like this.</p><figure class="post_image"><img alt="Starting Back Card Image" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/29-flyer-business-card-mock-up-tutorial.jpg"><br></figure><h3>Step 21</h3><p>At this point, we just need to place our design into this document. Go to <strong>File </strong>&gt; <strong>Place </strong>and select your image. </p><figure class="post_image"><img alt="Business Card Back Design sample" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/30-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 22</h3><p><strong>Close </strong>the Smart Object now and Photoshop will ask you to <strong>Save</strong>. Click <strong>Yes </strong>and the Smart Object will automatically update the image, maintaining transformations and adjustments, so instead of the red color we have our design now.</p><figure class="post_image"><img alt="Updated mockup with Business Card Back Design" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/31-flyer-business-card-mock-up-tutorial.jpg"></figure><h3>Step 23</h3><p>Do the same process with the <em>Card Front</em> Layer, and you have your beautiful, ready-to-use, customizable mockup. </p><figure class="post_image"><img alt="Closeup of finished Business Card Template mockup with custom design" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/32-flyer-business-card-mock-up-tutorial.jpg"></figure><figure class="post_image"><img alt="Business Card Template mockup with custom design" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/33-flyer-business-card-mock-up-tutorial.jpg"></figure><h2>Awesome! Our Mockup Is Ready to Be Used</h2><p>Test this mockup with other designs: the Smart Object will do all the work for us, and we can utilize this template to preview as many as we want. They can be also used to showcase flyers and posters because the photo doesn't give any reference to the real size of the paper sheets. So they could be any size you need, as long as the proportions of the card and your design are more or less maintained.</p><figure class="post_image"><img alt="Sample of Business Card Template mockup with blue and yellow custom design" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/34-flyer-business-card-mock-up-tutorial.jpg"></figure><figure class="post_image"><img alt="Sample of Business Card Template mockup with blue and red custom design" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/35-flyer-business-card-mock-up-tutorial.jpg"><br></figure><p>You can find my <a href="https://graphicriver.net/item/elegant-business-card-flyer-mockups/21444591" rel="external" target="_blank">Business Cards mockups</a> Bundle with 15 mockups on <a href="https://graphicriver.net" target="_self">GraphicRiver</a>.<br></p><figure class="post_image"><img alt="Elegant Business Card Mockup Bundle Photoshop psd Templates" data-src="https://cms-assets.tutsplus.com/uploads/users/2102/posts/30700/image/business-cards-mock-up-bundle-psd-template.jpg"></figure>2018-04-11T08:00:00.000Z2018-04-11T08:00:00.000ZGianluca Giacoppotag:design.tutsplus.com,2005:PostPresenter/cms-28583How to Create a Strawberry Lips Effect for Beginners in Adobe Photoshop<figure class="final-product final-product--image"><img data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/final_image/lips-final.jpg" alt="Final product image"><!--googleoff: index--><figcaption>What You'll Be Creating</figcaption><!--googleon: index--></figure><p>In this tutorial I'll show you how to create a delicious strawberry lips effect. You'll learn how to combine two stock images using some basic Photoshop retouching techniques, blending, matching color, and taking care of details.<br></p><p>Whatever your skill level is with photo manipulation and retouching, let us recommend some <a href="https://design.tutsplus.com/articles/essential-resources-for-photo-manipulation-artists--cms-26690" target="_self">essential photo manipulation resources</a> for your future projects.</p><h2>Tutorial Assets</h2><p>The following assets were used during the production of this tutorial:</p><ul>
<li>
<a href="https://pixabay.com/en/makeup-woman-person-eye-shadow-739672/" rel="external" target="_blank">Model</a> </li>
<li>
<a href="https://pixabay.com/en/strawberry-sweet-red-delicious-82529/" rel="external" target="_blank">Strawberry</a> </li>
</ul><h2>
<span class="sectionnum">1.</span> How to Crop the Image and Change the Color of the Lips</h2><h3>Step 1</h3><p>Open the
model image. We 'll work on the lips only, so use the <strong>Crop Tool (C)</strong> to select the area just around the lips. Remember that the background should not be involved in the selection.</p><figure class="post_image"><img alt="cropping image" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-1.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-1.jpg"></figure><p>Press <strong>Enter</strong> to apply the change.<br></p><h3>Step 2</h3><p>After cropping, we'll change the color of the lips a bit. The reason here is to match it with the strawberry's color. Activate the <strong>Quick Selection Tool (W)</strong> and drag over the lips area. Don't worry if the result doesn't look good—we'll fix it quickly later.</p><figure class="post_image"><img alt="select lips " data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-2.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-2.jpg"></figure><p>To make the selection more precisely, press <strong>Q</strong> to enter the <strong>Quick Mask</strong>.</p><figure class="post_image"><img alt="quick mask show" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-2a.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-2a.jpg"></figure><p>Make sure
that the foreground is black and hit <strong>B</strong> to activate the <strong>Brush Tool</strong>. Use a
hard round brush to carefully paint on the unwanted area outside the
mouth and the teeth inside the mouth so they won't be affected by what we do after. You can switch the foreground to white to fill in the missing areas of the lips or to correct anything wrong. <br></p><figure class="post_image"><img alt="result using quick mask" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-2b.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-2b.jpg"></figure><h3>Step 3</h3><p>Hit <strong>Q</strong> again to exit the <strong>Quick Mask</strong> and show the selected result.<br></p><figure class="post_image"><img alt="show lips selection" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-3.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-3.jpg"></figure><h3>Step 4</h3><p>On the lips
layer, go to <strong>Layer &gt; New Adjustment Layer &gt; Hue/Saturation</strong> (call
it the first <strong>Hue/Saturation</strong> adjustment). This way, the effect only
works on the lips. Change the <strong>Hue</strong> settings to a small value (<strong>+6</strong>) to make
the lips more orange.</p><figure class="post_image"><img alt="lips hue saturation 1" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips1-4.jpg"></figure><h2>
<span class="sectionnum">2.</span> How to Retouch the Mouth</h2><h3>Step 1</h3><p>There are
some areas around the mouth which look a bit hairy. You can leave them
like that, but if you want to retouch them, press <strong>Control-Shift-N</strong> to make
a new layer.</p><figure class="post_image"><img alt="hairy areas" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-1.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-1.jpg"></figure><p>Take the <strong>
Clone Tool (S)</strong> and remember the <strong>Sample</strong> mode should be <strong>All Layers</strong>. The
size of the <strong>Clone Tool </strong>depends on the size of the file you're working
on. Mine is <strong>1200 x 800 px</strong>, and I've used the <strong>50-55 px</strong> brush. Hold the
<strong>Alt</strong> key and click on the area below the hairs. After that, drag the
brush over the areas you want to edit. Repeat this step until it's covered. I don't want the result look too unnatural, so lower the <strong>Opacity</strong> of the brush to <strong>60-65%</strong>. <br></p><figure class="post_image"><img alt="cloning area" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-1a.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-1a.jpg"></figure><h3>Step 2</h3><p>The result
needs to be a bit darker as it's in the shadow area. Use the<strong>
Lasso Tool (L)</strong> to select the area under the lips, and then go to <strong>Layer
&gt; New Adjustment Layer &gt; Curves</strong>. Remember to check <strong>Use Previous
Layer To Create Clipping Mask </strong>and decrease the lightness until it matches the existing shadow.</p><figure class="post_image"><img alt="darken cloning result" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-2.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-2.jpg"></figure><h3>Step 3</h3><p>The right corner of the lower lip does not look very good. To correct it, make a new layer and use the <strong>Clone Tool</strong> to remove the indicated area and make the right corner more in proportion with the left.</p><figure class="post_image"><img alt="cloning right corner " data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-3.jpg"></figure><figure class="post_image"><img alt="cloning right corner result" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips2-3a.jpg"></figure><h2>
<span class="sectionnum">3.</span> How to Add the Strawberry Texture</h2><h3>Step 1</h3><p>Open the strawberry image. Use the <strong>Lasso Tool</strong> to select the body of the strawberry and drag it above the lips area. <br></p><figure class="post_image"><img alt="select strawberry body" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-1.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-1.jpg"></figure><p>We'll make it the lower lip, so use the <strong>Free Transform Tool (Control-T)</strong> with the <strong>Warp</strong> mode to drag both sides of this strawberry part upward and the middle section downward, following the form of this lip.</p><figure class="post_image"><img alt="tweak lower lip" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-1a.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-1a.jpg"></figure><h3>Step 2</h3><p>Hold down <strong>Control</strong> and click the mask of the first <strong>Hue/Saturation</strong> adjustment layer (in step 4 of section 1) to load its selection.</p><figure class="post_image"><img alt="load lips selection" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-2.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-2.jpg"></figure><p>Click the second icon at the bottom of the <strong>Layers</strong> panel to add a mask to this strawberry layer.</p><figure class="post_image"><img alt="lips selection masking" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-2a.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-2a.jpg"></figure><p>Now use a medium-soft round brush with black color to carefully erase the upper lip and the right edge of the lower lip's corner.
The reason for erasing the upper lip is that its details don't look good, and the light there doesn't match the face. Decrease the brush opacity while painting on the contour to make the
strawberry part blend more smoothly and naturally with the existing lip. <br></p><figure class="post_image"><img alt="lower lip masking result" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-2b.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-2b.jpg"></figure><h3>Step 3</h3><p>Select the lower area of the strawberry and add it to the upper lip. Use <strong>Control-T</strong> with the <strong>Warp</strong> mode to make this strawberry part a
bit curvy, following the form of the lip. Move the bright parts
slightly leftward to fit the light on the model (from left to right).</p><figure class="post_image"><img alt="select another strawberry part" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-3.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-3.jpg"></figure><figure class="post_image"><img alt="tweak upper lip" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-3a.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-3a.jpg"></figure><h3>Step 4</h3><p>Mask off
the lower lip and the unwanted area outside the mouth using the same
method as in step 2. Lower the brush opacity as mentioned to reveal
some details of the contour. <br></p><figure class="post_image"><img alt="upper lip masking " data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-4.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-4.jpg"></figure><h3>Step 5</h3><p>The result still looks flat and dark. To correct it, select the two
strawberry layers and hit <strong>Control-G</strong> to make a group for them. Change the
group's mode to <strong>Normal 100%</strong> and load the lips' selection by holding <strong>
Control</strong> and clicking the first <strong>Hue/Saturation</strong> layer mask.
Increase the lightness a lot by making a <strong>Curves</strong> adjustment layer with
this selection. <br></p><figure class="post_image"><img alt="lips curves 1" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-5.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-5.jpg"></figure><p>On the <strong>Curves</strong> layer mask, use a soft black brush to paint along the
shadow area under the lips, the contour, and the space between the lips to
define their light and shadow. Try to make the right side a bit darker
than the left to fit the light source.</p><figure class="post_image"><img alt="lips curves 1 masking" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-5a.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-5a.jpg"></figure><figure class="post_image"><img alt="lips curves 1 masking result" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-5b.jpg"></figure><h3>Step 6</h3><p>Use another <strong>Curves</strong> adjustment layer and drag the lightness down, and then
use a soft black brush to reveal the bright parts on the left, some
tiny seeds on the right, and the middle section. Leave the effect visible
on the edges and the shadow areas to strengthen the contrast. Vary the brush size
while painting on the different areas using <strong>[</strong> and <strong>]</strong>. You can also lower
the brush's opacity to achieve a more realistic result. <br></p><figure class="post_image"><img alt="lips curves 2" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-6.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-6.jpg"></figure><figure class="post_image"><img alt="lips curves 2 masking" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-6a.jpg"></figure><figure class="post_image"><img alt="lips curves 2 masking result" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-6b.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips3-6b.jpg"></figure><h2>
<span class="sectionnum">4.</span> How to Do the Final Touches</h2><p>The result looks pretty good but still incomplete. Create a new layer
on top of the layers, change the mode to <strong>Overlay 100%</strong>, and fill with <strong>50%</strong>
gray. </p><p>Hit <strong>O</strong> to activate the <strong>Dodge</strong> and <strong>Burn Tool</strong>. Use the<strong> Dodge Tool</strong> with
<strong> Highlights Range</strong> and <strong>Exposure</strong> about <strong>20-25%</strong> to paint highlights on the
middle selection, especially the left, and also the upper contour of the
lips. </p><p>Use the <strong>Burn Tool </strong>with <strong>Midtones Range</strong> and <strong>Exposure</strong> about <strong>20-25%</strong> to
strengthen the shadow, define the edges between the lips, and create more
details on some tiny areas. Hold the <strong>Alt</strong> key while painting to switch
between the <strong>Dodge</strong> and <strong>Burn Tool</strong>. </p><p>The trick here is to change the foreground
to a gray color (it's best to pick the color <code class="inline">#808080</code>—the same color as this fill layer) and use the <strong>Brush Tool</strong> to erase anything that looks wrong, and then you can start to repaint that detail with the <strong>Dodge/Burn Tool</strong>. <br></p><figure class="post_image"><img alt="DB new layer" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips4-1.jpg"></figure><figure class="post_image"><img alt="DB result" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips4-1a.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips4-1a.jpg"></figure><h2>Awesome Work, You're Done!<br>
</h2><p> Now it looks really delicious!</p><p>I hope that you've enjoyed my tutorial and learned something new. Feel
free to share your ideas or comments in the box below—I'd love to see
them. Enjoy Photoshopping!</p><figure class="post_image"><img alt="final result" data-src="https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips-final.jpg" title="Image: https://cms-assets.tutsplus.com/uploads/users/723/posts/28583/image/lips-final.jpg"></figure>2017-05-03T15:00:00.000Z2017-05-03T15:00:00.000ZJenny Letag:design.tutsplus.com,2005:PostPresenter/cms-28262Photoshop in 60 Seconds: Create a Pearl Necklace With the Mixer Brush in Photoshop<figure class="final-product final-product--image"><img data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/28262/final_image/pearlfinal.jpg" alt="Final product image"><!--googleoff: index--><figcaption>What You'll Be Creating</figcaption><!--googleon: index--></figure><p>Welcome to our Photoshop in 60 Seconds series, in which you can
learn a Photoshop skill, feature, or technique in just a minute!</p><h2>Photoshop in 60 Seconds: Custom Jewelry</h2><p>The <strong>Mixer Brush Tool</strong>, in Adobe Photoshop, allows you to make awesome stamps of any object. And in this quick tutorial, I'll be using this neat tool to show you how to create a pretty pearl necklace by creating your own necklace brush. <br></p><p>Feel free to download the <a href="https://photodune.net/item/pearls-circle-isolated-on-white-background/2056325" target="_self">pearl</a> and <a href="https://photodune.net/item/portrait-of-pretty-gorgeous-young-woman-girl/15005764" target="_self">woman</a> stocks used in this video. And browse the incredible collection of stock photography on <a href="https://photodune.net/" target="_self">PhotoDune</a> for more amazing references.</p><figure><div class="wistia_responsive_padding"><div class="wistia_responsive_wrapper"><div class="wistia_embed wistia_async_srk4l6q6dc videoFoam=true"> </div></div></div></figure><h2>How to Create a Custom Necklace in Photoshop</h2><p>Open your photos into Photoshop. Here I'll be using these <a href="https://photodune.net/item/pearls-circle-isolated-on-white-background/2056325" target="_self">pearl</a> and <a href="https://photodune.net/item/portrait-of-pretty-gorgeous-young-woman-girl/15005764" target="_self">woman</a> stocks. <br></p><figure class="post_image"><img alt="Pearls and Woman References" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/28262/image/pearlrefs.jpg"></figure><p>First, extract one pearl from the bracelet using the <strong>Elliptical Marquee Tool (M). </strong>Then <strong>Control-J </strong>to <strong>Duplicate</strong> it, resizing the copy to be smaller with the <strong>Free Transform Tool (Control-T). </strong>The second pearl will serve as a small connector piece.<strong><br></strong></p><figure class="post_image"><img alt="Duplicate and Resize the Pearl" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/28262/image/pearlbrush2.jpg"></figure><p><strong>Merge </strong>both pearl layers together. Select the <strong>Mixer Brush Tool (B) </strong>and increase the <strong>Brush</strong> <strong>Size</strong> to fit over both pearls, and then hold the<strong> Alt</strong> key to<strong> </strong>load<strong> </strong>the pearls as a new brush. Hit <strong>F5</strong> to adjust the settings in the <strong>Brush</strong> panel as follows:</p><ul>
<li><strong>Spacing: 90-95%</strong></li>
<li><strong>Shape Dynamics: Checked, Angle Control: Initial Direction</strong></li>
</ul><figure class="post_image"><img alt="Mixer Brush Settings" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/28262/image/pearlbrush3.jpg"></figure><p>With the<strong> Mixer Brush (B)</strong> selected, begin drawing a pearl necklace across your subject. You may need to try it several times to get it just right. Then set a <strong>Layer Mask</strong> to the pearl necklace and paint black onto the mask to hide any imperfections or pearls with the <strong>Brush Tool (B).</strong></p><figure class="post_image"><img alt="Mask Out the Extra Pearls" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/28262/image/pearlbrush4.jpg"></figure><p>Almost done! Now <strong>Right-click</strong> the layer to go to <strong>Blending Options</strong>. Set a <strong>Drop Shadow </strong>to the necklace with the following settings:<strong><br></strong></p><figure class="post_image"><img alt="Drop Shadow Blending Option Settings" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/28262/image/pearlbrush.jpg"></figure><p><strong></strong>Feel free to continue tweaking the lighting or colors with additional <strong>Adjustment Layers. </strong>Here is my final result below:</p><figure class="post_image"><img alt="Custom Pearl Necklace With the Mixer Brush Tool" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/28262/image/pearlfinal.jpg"></figure><p>Want to see this in action? Check out the quick video above to see this lesson at work!<br></p><h2>A Bit More Detail</h2><p>Learn more photo effects from our experts! Check out the following tutorials below:</p><ul class="roundup-block__contents posts--half-width roundup-block--list">
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/articles/50-awesome-photo-effect-tutorials--psd-27718"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/346/posts/17596/preview_image/photoeffect_preview.jpg"><div class="roundup-block__primary-category topic-design">Photo Manipulation</div>
<div class="roundup-block__content-title">50 Awesome Photo Effect Tutorials</div>
<div class="roundup-block__author">Grant Friedman</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/dark-fantasy-photo-effect--cms-26953"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/1437/posts/26953/preview_image/preview.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Create a Dark Photo Effect Action for Beginners in Adobe Photoshop</div>
<div class="roundup-block__author">Marko Kožokar</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-create-a-wet-glass-action-in-adobe-photoshop--cms-27958"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/1525/posts/27958/preview_image/wet-glass-action-preview-image.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Create a Wet Glass Action in Adobe Photoshop</div>
<div class="roundup-block__author">Indranil Saha</div></a></li>
<li class="roundup-block__content"><a class="roundup-block__content-link" href="https://design.tutsplus.com/tutorials/how-to-create-a-dispersion-action-in-adobe-photoshop--cms-27493"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/1437/posts/27493/preview_image/preview-image.jpg"><div class="roundup-block__primary-category topic-design">Photoshop Actions</div>
<div class="roundup-block__content-title">How to Create an Awesome Dispersion Action in Adobe Photoshop</div>
<div class="roundup-block__author">Marko Kožokar</div></a></li>
</ul><h2>60 Seconds?!</h2><p>This is part of a <a href="https://design.tutsplus.com/series/60-second-video-tutorials--cms-964" rel="noreferrer" target="_blank">series of quick video tutorials</a> on
Envato Tuts+ in which we introduce a range of subjects, all in 60
seconds—just enough to whet your appetite. Let us know in the comments
what you thought of this video and what else you'd like to see explained
in 60 seconds!</p>2017-03-16T14:47:33.000Z2017-03-16T14:47:33.000ZMelody Nievestag:design.tutsplus.com,2005:PostPresenter/cms-26439How to Relight Portraits in Post With These 6 Dramatic Photoshop Actions<p>Relighting is a post-production technique that takes a base image and alters the appearance of the lighting sources, or even adds the appearance of new lighting sources altogether, to improve the image. <br></p><p>Sometimes the light in a photograph just isn't what you want it to be.
Maybe you're working on a stock image, the desired look changes after the shoot, or you need to fit a portrait from one
location into the background from another. There are many
reasons why a perfectly servicable photograph in one scenario might not
work in another. Relighting is often just the trick to save the day.<br></p><p>Last time we looked at relighting and <a href="https://photography.tutsplus.com/tutorials/how-to-add-lighting-effects-to-photos-with-knoll-light-factory--cms-25533" target="_self">how to add natural-looking effects with Knoll Light Factory</a>. Here we’ll look at six Photoshop actions that add a more dramatic lighting look to your
portrait photographs.</p><h2>Wait, What is an Action?</h2><p>An action is a file containing instructions for Adobe Photoshop. Running an action performs a series of automated steps on an image. Actions usually have more than one preset within them,
designed work together. They also often contain points along the way for user input. Using an action as part of your workflow can be a
great addition, and save you time. Although many actions seem like ‘one-click’
solutions, it’s important to still treat the image in the way you usually would
and have a plan for it. I like to think of
actions as an addition to your workflow, not something to solve all your post-production problems.</p><p>For a more in-depth introduction to actions, see Harry Guinness's useful tutorial, <br><a href="https://photography.tutsplus.com/tutorials/getting-started-with-photoshop-actions--cms-26375" target="_self"><em>Getting Started With Photoshop Actions</em></a>.<br></p><ul class="roundup-block__contents posts--half-width roundup-block--list"><li class="roundup-block__content"><a class="roundup-block__content-link" href="https://photography.tutsplus.com/tutorials/getting-started-with-photoshop-actions--cms-26375"><img class="roundup-block__preview-image" data-src="https://cms-assets.tutsplus.com/uploads/users/80/posts/26375/preview_image/preview.jpg"><div class="roundup-block__primary-category topic-photography">Photoshop Actions</div>
<div class="roundup-block__content-title">Getting Started With Photoshop Actions</div>
<div class="roundup-block__author">Harry Guinness</div></a></li></ul><h2>6 Photoshop Actions That Add Dramatic Light</h2><p>This is the image I'll be using on all the actions, so that you can see the differences of each accurately:</p><figure class="post_image"><img alt="portrait" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/portrait-example.jpg"><figcaption>Image licensed via <a href="https://photodune.net/item/portrait/7464358" rel="external" target="_blank">PhotoDune</a></figcaption></figure><p>All of the actions in this tutorial are available on <a href="https://graphicriver.net/" target="_self">Envato Market</a>.<br></p><h2>
<span class="sectionnum">1.</span> Soft Focus</h2><p><a href="https://graphicriver.net/item/soft-focus-photoshop-action/9614109" rel="external" target="_blank">Soft Focus</a> by <a href="https://graphicriver.net/user/sevenstyles" rel="external" target="_blank">Sevenstyles</a> costs $6. Here is the instructional video:</p><figure data-video-embed="true" data-original-url="https://www.youtube.com/watch?v=Pz0Ht5OZmoI" class="embedded-video">
<iframe data-src="//www.youtube.com/embed/Pz0Ht5OZmoI?rel=0" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
</figure><p>Watching the video for each action helps a lot, but the basics are to make sure your image is RGB Colour and 8 bit.</p><h3>Applying the Action</h3><p>Create new layer called '<strong>brush</strong>'. On this layer, paint over in any colour, the bits of image you'd like to keep in focus. In this case, I want the face and part of the neck to
remain sharp.</p><figure class="post_image"><img alt="paint over areas of sharpness" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/1-paint-over-image.jpg"><figcaption>Paint over the areas you wish to remain sharp</figcaption></figure><p>Run the action.</p><figure class="post_image"><img alt="result of soft focus action" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/2-result.jpg"><figcaption>This is the result after running the 'Soft Focus' action</figcaption></figure><p>This is the result after running the action, so obviously
some tweaking is needed here.</p><figure class="post_image"><img alt="menu" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/3-menu.jpg"></figure><p>The menu is broken down into colour and soft focus. Let’s
look at tweaking some of the soft focus options to get a better result. Mostly the background blur and bokeh textures are the things
obscuring the image, so I’ve scrapped some of the larger bokeh and dipped the
<strong>opacity </strong>on the background blur layer:</p><figure class="post_image"><img alt="after changes" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/4-after-blur-changes.jpg"></figure><p>In the <strong>colour</strong> folder, there are a number of options, which
in essence really do just change the colour, so it’s a matter of preference.
Each of these can then be tweaked again though for finer tuning. There’s also
an adjustment mask for <strong>brightness</strong>, <strong>contrast</strong>, <strong>colour tint</strong> and <strong>saturation</strong>.</p><p>The colours are mostly pastels with a couple of nice
complimentary colour gradients thrown in. They’re quite heavy handed so chances
are you’ll need to pull them back a bit on your image.</p><figure class="post_image"><img alt="cool tone" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/5-cool-tone.jpg"></figure><p>Here I’ve dipped the overall saturation for a softer look
and although I like the pink tone, I’ve gone for a cooler one to show you the
difference to our earlier image.</p><p>You can use more than one in conjunction with each other but
I wouldn’t recommend using too many, piling lots of textures and fill layers on top of one
another will really degrade the look of the image.</p><figure class="post_image"><img alt="" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/6-finished-image.jpg"></figure><p>Finally, I’ve added some contrast using the layer within the
colour folder and some overall sharpening using the layer within the soft focus
folder. Remember, you can use the <strong>mask</strong> on each layer to brush over areas to
reduce or increase the effect.</p><h3> Soft Focus: Before and After</h3><figure class="post_image"><img alt="" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/7-before-and-after.jpg"><figcaption>Before and after 'Soft Focus'</figcaption></figure><h2>
<span class="sectionnum">2.</span> Soft Focus 2</h2><p><a href="https://graphicriver.net/item/soft-focus-2-photoshop-action/10536015" target="_self">Soft focus 2</a> by <a href="https://graphicriver.net/user/sevenstyles" rel="external" target="_blank">Sevensyles</a> costs $6. Here's the instructional video:</p><figure data-video-embed="true" data-original-url="https://www.youtube.com/watch?v=9dpQQiGNizk" class="embedded-video">
<iframe data-src="//www.youtube.com/embed/9dpQQiGNizk?rel=0" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
</figure><p>Once again your image will need to be RGB Colour and 8 bit.</p><h3>Applying the Action</h3><p>Create new layer called brush and paint over in any colour the parts of the image you want to keep. This time use a soft brush to keep the edges from being hard, or you'll end up with a rough line when you run the action.</p><figure class="post_image"><img alt="colour image" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/1-brush-over-imagr.jpg"></figure><p>
Half way down the image will be the transition point from light to dark, so you may want to avoid colouring the very bottom part of your image in so that it fades to black.</p><figure class="post_image"><img alt="after action has run" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/2-action-run.jpg"><figcaption>After running 'Soft Focus 2'</figcaption></figure><p>After running the action, you're left with a number of options grouped together</p><figure class="post_image"><img alt="options" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/3-options-left.jpg"></figure><p><strong>Soft Focus 2</strong> group is where we’re going to look, and
particularly at the <strong>reveal normal photo</strong> mask.</p><figure class="post_image"><img alt="reveal normal photo" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/4-reveal-normal-photo.jpg"></figure><p>I think the action has left this a
little too dark, so I’m going to use a soft brush with low opacity to just brush
back in some of the detail:</p><figure class="post_image"><img alt="after brushing back some detail" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/5-make-lighter.jpg"><figcaption>After brushing back some detail</figcaption></figure><p>Next I want to bring a little detail back into the background by
brushing over the ‘<strong>background colour</strong>’ mask</p><figure class="post_image"><img alt="background detail" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/6-bursh-in-background-texture.jpg"></figure><p>In the <strong>colour</strong> folder, as well as adjustments to <strong>brightness</strong>,
<strong>contrast </strong>and <strong>saturation</strong>, there are a number of colour options, each of which
then break down again so you can really tweak until your heart’s content.</p><figure class="post_image"><img alt="after colour adjustment" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/7-finished.jpg"><figcaption>After a slight colour adjustment</figcaption></figure><h3>Soft Focus 2: Before and After<br>
</h3><figure class="post_image"><img alt="before and after soft focus 2" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/8-before-and-after.jpg"><figcaption>Before and after 'Soft Focus 2'</figcaption></figure><h2>
<span class="sectionnum">3.</span> Soft Focus 3</h2><p><a href="https://graphicriver.net/item/soft-focus-3-photoshop-action/13257536" rel="external" target="_blank">Soft Focus 3</a> by <a href="https://graphicriver.net/user/sevenstyles" rel="external" target="_blank">Sevensyles</a> costs $6. Here's the instructional video:</p><figure data-video-embed="true" data-original-url="https://www.youtube.com/watch?v=el7sk3371P4&amp;feature=youtu.be" class="embedded-video">
<iframe data-src="//www.youtube.com/embed/el7sk3371P4?rel=0" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
</figure><p>We've had Soft Focus and Soft Focus 2, how could we not have 3?! Once again for this action, make sure your image is RGB Colour and 8 bit.</p><p>Create a new layer called '<strong>brush</strong>' and paint over your subject; this doesn't need to be perfect.</p><figure class="post_image"><img alt="paint over subject" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/1-select-subject.jpg"><figcaption>Paint over your subject; this can be rough</figcaption></figure><p>Run the action.</p><figure class="post_image"><img alt="after soft focus 3" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/2-after-action.jpg"><figcaption>After running Soft Focus 3</figcaption></figure><p>The result without any tweaking is quite soft and very
orange. Let’s have a look at our options.</p><figure class="post_image"><img alt="menu" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/3-menu-new.jpg"></figure><p>Essentially this is broken down into warm and cool casts with an overall <strong>contrast </strong>layer. The <strong>warm 1</strong> option is selected alongside the <strong>cool 4 </strong>and as always, the folders can be opened again to break down the action into even more parts.<br></p><p>Unlike the previous actions, the folders here are broken up into many more layers inside. Here’s an example of <strong>warm 3</strong>:</p><figure class="post_image"><img alt="inside menu" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/4-menu.jpg"></figure><p>As you can see you really could go on forever with tweaking here and there. I think
the best option when faced with so much choice is to choose your base folder
and decide what you want from it. So from the example picture right now, it’s
too bright, too blurred and there are too many warm tones, so that’s what I
want to try and fix.<br></p><p>Have a plan for your image and then address the layers that
help you work on that plan. The colour fill layers tend to be the things that
have the most impact in these type of actions, so try and find those and dip
the opacity accordingly, or paint out over the layer mask.</p><figure class="post_image"><img alt="adjustments" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/5-altered.jpg"><figcaption>After some adjustments</figcaption></figure><p>Above, I’ve dropped the opacity on a lot of the colour fill
layers, removed some of the edge glow and blurring effects and brought some
definition back to the face. This is still only using ‘<strong>Warm 3</strong> ‘ so now I’ll add
a ‘<strong>cool</strong>’ layer and adjust in the same way I did with the warm.<br></p><p>Remember, if you’re using more than one part of the action
and they’re designed to do similar things, you may well be repeating things
like sharpening and contrast – so it may be best to hide those duplicate layers
rather than piling too much on.</p><figure class="post_image"><img alt="added cool layer" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/6-added-cool.jpg"><figcaption>An added 'cool ' layer</figcaption></figure><h3>Soft Focus 3: Before and After<br>
</h3><figure class="post_image"><img alt="before and after soft focus 3" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/7-before-and-after%20-%20new.jpg"><figcaption>Before and after 'Soft Focus 3'</figcaption></figure><h2>
<span class="sectionnum">4.</span> Smokey Scene</h2><p><a href="https://graphicriver.net/item/smoky-scene-photoshop-action/14171676" rel="external" target="_blank">Smoky Scene</a> by <a href="https://graphicriver.net/user/hemalaya1" rel="external" target="_blank">Hemalaya1</a> costs $4.<br></p><p>This action requires you to load in some brushes. Place the <strong>.ABR</strong> file that comes with the action, into the <strong>Brushes</strong> folder found in the <strong>Adobe</strong> folder of <strong>Program Files</strong> if you're a <strong>Windows</strong> user, or <strong>Applications</strong> if you're on a Mac. Then load your brushes</p><figure class="post_image"><img alt="load brushes" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/Load-in-brushes.jpg"></figure><p>Create a new layer called '<strong>object</strong>' and brush over your subject on that layer.</p><figure class="post_image"><img alt="brush over subject" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/1-paint-over-body.jpg"></figure><p>Run the action.</p><figure class="post_image"><img alt="smoky" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/2-initial-result.jpg"><figcaption>After Smoky action is applied.</figcaption></figure><p>There are a couple of weird joins on the background which could be down to my selection or an anomaly on one of the action's layers. It's easily fixed with a quick <strong>clone </strong>at the end.</p><p>Let's look at the menu options for this action.</p><figure class="post_image"><img alt="menu options" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/3-menu-options-x.jpg"></figure><p>As well as the masks, which make it easy to adjust the
effects, each smoke effect is also available in your brushes menu, as you just installed them.</p><figure class="post_image"><img alt="brushes" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/4-brushes.jpg"></figure><p>If you want to add more effects, then it’s easy to create
a new layer and brush those on, you could even experiment by bringing in
different colours that way, too.<br></p><p>Personally I’m not a fan of the yellow fringe, so I’m going to tone that way down in the ‘<strong>object in fire</strong>’ folder.
I’ll also lower the gradient <strong>opacity </strong>to lessen the orange/red effect on
the model and ditch the ‘<strong>sparks</strong>’. </p><figure class="post_image"><img alt="smoky scene finished" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/5-finished-imagex.jpg"><figcaption>The image after tweaks</figcaption></figure><p>I found the smoke layers tricky, there are
almost too many of them for you to do anything but make an opacity change.<br></p><h3>Smoky Scene: Before and After </h3><figure class="post_image"><img alt="before and after" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/6-before-and-afterx.jpg"><figcaption>Before and after Smoky Scene</figcaption></figure><h2>
<span class="sectionnum">5.</span> Glam</h2><p><a href="https://graphicriver.net/item/glam-40-glow-generator-actions/5346669" rel="external" target="_blank">Glam</a> by <a href="https://graphicriver.net/user/sevenstyles" rel="external" target="_blank">Sevenstyles</a> costs $5. Here's the instructional video:</p><figure data-video-embed="true" data-original-url="https://www.youtube.com/watch?v=jvOxcXCkxnw" class="embedded-video">
<iframe data-src="//www.youtube.com/embed/jvOxcXCkxnw?rel=0" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
</figure><p>Glam doesn’t require any pre-brushing but it does have a
‘<strong>run setup</strong>’ folder as part of the group. Running this will give you the choice
of adding a glow, desaturating the image, darkening it or lightening it. Each
numbered action also has these as an option (deselected) once you run it.</p><p>After that, <strong>Glam </strong>has 40 presets. That's far too many to look at
here, but we’ll go for one at random, <strong>number 20</strong>:</p><figure class="post_image"><img alt="glam preset 20" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/1-glam.jpg"><figcaption>Glam's number '20' preset.</figcaption></figure><p>The other presets are a variation of this: multi-coloured
zazz added to your images! The effect is made up of a number of colour gradient
to transparent layers, one on top of another. Each comes with a layer mask so
you can brush over the colours to change the effect</p><figure class="post_image"><img alt="menu" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/2-menu-xx.jpg"></figure><p>As pretty as the colours are, they’re incredibly distracting
from our model and so the aim with this image and action is to bring the
definition back to the face, while keeping our punchy colours. I’m going to
brush over the masks with a soft, low opacity brush to remove some of the
bright colours</p><figure class="post_image"><img alt="after adjustments" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/3-toned-down.jpg"><figcaption>After adjustments</figcaption></figure><p>That's better, but only one example. Let's look at another; number 42.</p><figure class="post_image"><img alt="number 42 action" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/4-number-42.jpg"></figure><p>You can see it’s much the same problem again although less
on the face this time. The same method applies, brushing with a low opacity
soft brush until you get the desired effect.</p><figure class="post_image"><img alt="after adjustments" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/5-toned-down.jpg"></figure><h3>Glam: Before and After<br>
</h3><figure class="post_image"><img alt="before and after glam" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/before-and-afterglam.jpg"><figcaption>Before and after 'Glam'</figcaption></figure><h2>
<span class="sectionnum">6.</span> Legendary</h2><p><a href="https://graphicriver.net/item/legendary-photoshop-action/13472336" rel="external" target="_blank">Legendary </a>by <a href="https://graphicriver.net/user/sevenstyles" rel="external" target="_blank">Sevenstyles</a> costs $6. Here's the instructional video:</p><figure data-video-embed="true" data-original-url="https://www.youtube.com/watch?v=XANpwpaJbU8" class="embedded-video">
<iframe data-src="//www.youtube.com/embed/XANpwpaJbU8?rel=0" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
</figure><p>As with Sevenstyle's other actions, make sure your image is RGB Colour, 8 bit and start with a new layer called '<strong>brush</strong>'.</p><p>When you run the action, it will stop part way to ask you to create a light source.</p><figure class="post_image"><img alt="light source" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/1-light-source.jpg"></figure><p>Use the <strong>shape tool </strong>or <strong>pen tool</strong> to draw in where you’d like
your light source:</p><figure class="post_image"><img alt="draw a light source" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/2-shape-light-source.jpg"><figcaption>Draw a light source</figcaption></figure><p>When you’re happy, you can go ahead and hit play again on
the action and it’ll resume.</p><figure class="post_image"><img alt="hit play" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/3-hit-play.jpg"></figure><figure class="post_image"><img alt="after action" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/4-after-action.jpg"><figcaption>The result after the action has completed</figcaption></figure><p>Yours may look different depending on the light source
that’s been drawn in, but you can see it’s created a ‘ball’ of light from my
shape circle at the top left.<br></p><p>Once again there are many options including ten colour
changes, amendments to ‘<strong>glow</strong>’ and ‘<strong>dust</strong>’, the background texture, essentially,
and some overall changes to things like contrast, sharpening etc. </p><p>This picture
is far too orange coloured for me now so I’m going to tone that right down and
make it a little more neutral.</p><figure class="post_image"><img alt="new colour option" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/5-after-edit.jpg"></figure><p>This is colour option nine with the opacity lowered a little.
I’ve also reduced the glow, increased sharpness and contrast around the face and
toned down the textured background.</p><p>You can see the result is a much paler, stylized look to the
original, although we’ve kept some of the colour and toning from the
background, so it blends much nicer with the model than the previous ‘orange’
look did.</p><h3>Legendary: Before and After<br>
</h3><figure class="post_image"><img alt="" data-src="https://cms-assets.tutsplus.com/uploads/users/412/posts/26439/image/6-before-and-afterxx.jpg"></figure><h2>Conclusion</h2><p>As I mentioned at the start, I believe actions are something
to compliment your editing process, not replace it. They can often be a good
place to start, deciding what you want from an image, seeing how the action
works and then breaking each layer down until you’ve achieved that.</p><p>The actions in this article are for the most part (with the
exception of Glam), very flexible—there’s a lot you can do and many outcomes
you can achieve by using them. These actions are particularly suited to images
of people and in particular studio style portraits. If you’re aiming for a
stylised, ‘wow’ look then they’re right on the money. If you’re looking for
something for a bit more natural and subtle then you have to be prepared to
dive in a little deeper and spend time adjusting each layer and mask to get the
right look.<br></p>2016-04-29T16:07:34.663Z2016-04-29T16:07:34.663ZMarie Gardinertag:design.tutsplus.com,2005:PostPresenter/cms-23977How to Speed Up Your Adobe Photoshop Workflow With Custom Built Actions<p>Despite their checkered reputation, actions are a great way to speed up your Adobe Photoshop workflow. There are <a href="https://photography.tutsplus.com/articles/100-free-photoshop-actions-and-how-to-make-your-own--photo-3502">a lot of resources</a> out there that <a href="https://photography.tutsplus.com/articles/60-more-awesome-photoshop-actions-for-photographers--photo-5784">offer free actions</a>, however the quality is highly variable. Some are crafted by excellent post-production experts and can help you develop a better workflow. Others promise to perfect an image in a single click and are a waste of your time.</p><p>The best way to use actions in Photoshop is to create custom ones to fit your workflow. In this tutorial you will learn how to analyse your workflow and find the parts to turn into actions.</p><h2>Why Use Actions?</h2><p>As you get deeper into post-processing and retouching you’ll use more advanced techniques that require multiple steps to apply. For example, duplicating a layer, renaming it and then applying a filter, a blending mode and a mask takes at least 30 seconds every time you do it. You visit at least three different menus to apply the technique. To speed up your workflow, you can combine all the steps into a single action.</p><p>One of the hallmarks of a talented artist is a consistent style. The reason you can recognise an <a href="https://annieleibovitz.tumblr.com/" target="_self">Annie Leibovitz</a> portrait is that she approaches every image in a consistent way (although the specifics of the approach are unique to her). Instead of editing every image you create individually, having a sequence of actions that you always use helps you keep a consistent look and feel.</p><h2>A Few Misconceptions About Actions</h2><p>Thanks to all the misguided promises to make an image look great at the push of a button there are some misconceptions about actions. Many people are unaware of just how customisable and powerful they are when used properly.<br></p><figure class="post_image"><img alt="action before after" data-src="https://cms-assets.tutsplus.com/uploads/users/80/posts/23977/image/ImageBeforeAfter.jpg"><figcaption>Import from Lightroom on the left. Processed image on the right. Every adjustment, including the watermark, was created using just two actions.</figcaption></figure><p>Actions aren’t just for beginners or people who don’t know how to use Photoshop well. Many professional post-production specialists and retouchers rely on actions to speed up their work. Actions don’t have to do everything all at once. You can use multiple
actions that all build on each other. In fact, this is a great strategy.</p><p>Actions are not a one-size-fits-all tool, either. You don’t have to apply the same settings every time: you
can have an action pause automatically at the appropriate places and load the dialogue box for
whatever command you are applying at that point so that you can enter the values that
work best for the image.</p><p>In the right hands, and with a little bit of planning, actions are an important component of a fast and flexible Photoshop workflow.<br></p><h2>My Photoshop Action Workflow<br>
</h2><p>To put everything into real terms, I’ll describe the two main actions I use and how they fit into my workflow. Then I’ll look at how you can break down your own workflow and develop similar actions.</p><h3>My Set Up Action<br>
</h3><p>After I create a neutral, white-balanced image in Lightroom I open the file I want to process in Photoshop. There I create a duplicate layer and use the healing tools to remove any unwanted distractions, like dust on the sensor or the scan, for example.</p><p>After the clean up is done I run my Set Up action. This action creates almost all the layers and effects I use. Amongst other things, it applies a customisable amount of frequency separation, creates dodge and burn layers, creates the layers I need to retouch eyes and teeth and finally creates all the adjustments I need to colour tone the final image.</p><p>Once all the layers I need are created I work through each of them applying
the effects, like dodging and burning, by hand and tweaking the
adjustment layers. Things like the eye contrast boost are masked out so I
paint in the effect where I want it—this gives me complete control.</p><figure class="post_image"><img alt="finishing steps" data-src="https://cms-assets.tutsplus.com/uploads/users/80/posts/23977/image/SharpeningSteps.png"><figcaption>Some of the steps in my <strong>Finishing</strong> action.</figcaption></figure><h3>My Finishing Action<br>
</h3><p>Once I’ve completed all the retouching and toned the image with the layers from my Set Up action, I run my Finishing Action. This action creates three masked out <strong>High Pass </strong>layers with different <strong>Blending Modes</strong> to sharpen the image and a watermark that says “Harry Guinness Photography”. Once I paint in the sharpening and position the watermark in the image, it’s finished.</p><h2>Analyse Your Workflow for Action Suitability <br>
</h2><p>As great as actions are, not every effect or technique should be turned into one. In general, multi-step techniques and global adjustments make the best candidates. These are the first thing you should look for when you are breaking down your workflow.</p><h3>1. Review Your Completed Images<br>
</h3><p>Start by looking at a couple of images you have recently edited. It’s best if they are of similar subjects—it’s not a good idea to try and compare your processes for portraits and landscapes. If you photograph multiple kinds of images you can break down each workflow individually and create more than one set of actions. <br></p><p>While analysing the images, look for techniques and effects you used consistently when you processed all of them. If you already have a normal workflow developed for yourself worked out this step will be easy. If you edit in a less deliberate way this self-analysis process is a little more challenging.</p><h3>2. Find Your Workflow Building Blocks<br>
</h3><p>Ideally, you will find things that you do again and again. If you’re a portrait photographer you’ll likely use some form of skin smoothing, dodging and burning, and sharpening. These will be the building blocks of your actions.</p><figure class="post_image"><img alt="action results" data-src="https://cms-assets.tutsplus.com/uploads/users/80/posts/23977/image/ActionComplete.jpg"><figcaption>In the <strong>Layers Panel</strong> you can see some of the many adjustment layers created by the actions.</figcaption></figure><p>Once you’ve identified these common building blocks, look at which ones can be grouped together. Continuing the example, skin smoothing and dodging and burning can easily be combined into a single action; neither relies on the other. <br></p><p>Sharpening, however, cannot be paired with most kinds of skin smoothing. You don’t want your sharpening layer affecting details that you’re removing with the skin smoothing. Until you’ve completely applied the smoothing effect you can’t sharpen your image. </p><h3>3. Plan Your Recipes<br>
</h3><p>Next, work out a sequence for the actions. While you’re doing everything manually you can apply techniques in many different orders. If you’re using an action it’s best to do it in the most logical sequence, like a recipe.<br></p><p>Generally, when making your recipe it is best to start with global effects, like contrast and tone. Work your way up to local adjustments, like retouching and sharpening, as these are dependant on the global adjustments.<br></p><p>Also decide on how many actions you will break everything into. I’ve
managed to condense everything into two. You may need more, depending on the kind of work you do.<br></p><h2>Record the Actions</h2><p>We’ve all ready covered at <a href="https://photography.tutsplus.com/articles/100-free-photoshop-actions-and-how-to-make-your-own--photo-3502">how to record actions</a> here on Tuts+<a href="https://photography.tutsplus.com/articles/100-free-photoshop-actions-and-how-to-make-your-own--photo-3502"></a>. Although Josh’s article is a few years old, the process hasn’t changed. While I won’t talk you through the all the steps of building an action, here are some best practice guidelines.</p><h3>Get Started<br>
</h3><p>If you've never built a complicated action before it's a good idea to analyse what other photographers have done. Download a few high quality actions and examine how they work. It will give you ideas as to how to structure your own action.<br></p><p>Start with an image you know your planned actions will work well on. Slowly start working your way through your workflow while recording what you do. Be careful and take your time; any mistakes you make will be recorded as well. It’s okay to pause, start over, or re-record some of the steps. It always takes me a few tries to build actions.</p><p>As you go, test often to make sure everything is working as planned. Adjust the <b>Playback Performance</b> to <b>Step-by-Step</b> to see where things aren’t working.</p><h3>Stay Organized<br>
</h3><p>Naming and grouping layers in Photoshop is one of those things that everyone knows is a good idea but seldom actually do. An advantage of actions is you only have to organise everything once and all your future work will organised too.</p><p>Name each new layer you create. It's a good idea to name every layer something descriptive. You can also add notes for yourself, like what brush opacity to start with, for example.<br></p><p>Building an action is also an opportunity to use some of Photoshop's other organisational features. Layer groups and colour coding are great ways to link layers that effect the same thing, like the image's tone or the subject's eyes.</p><h3>Masks and Layers for Adjustments<br>
</h3><p>Depending on the type of images you work with, here are two ways to apply adjustment layers for maximum control: <br></p><p>In the first method, create an adjustment layer with a fully opaque (or inverted, to 100% black) <strong>Mask</strong>. Then when you are editing the image you can then paint in the effect with a white brush or lower the density of the mask as you need it.</p><p>The second method is to add adjustment layers with their <strong>Opacity </strong>reduced to zero. These layers don’t make any changes. As you work through the process after the action, increase the layer opacity to achieve the effect you want. For example, my action adds a simple, unaltered curves adjustment on top of everything so I can fine tune exposure and contrast because I know this is something I do with every image.</p><h3>Interactive Actions</h3><p>As I mentioned previously, actions don't have to apply a set amount of any effect. When you are creating steps that rely on image specific values, like skin smoothing or sharpening, have the action pause and the dialogue box for the filters you are applying pop up. Dial in the the values you need and press <strong>Return </strong>or <strong>Enter</strong> and the action will continue running.</p><p>When you're doing this, make sure to turn off any layers above the one you're working on. If you don't, you won't be able to see a preview of the effect you are applying.</p><h3>Final Touches<br>
</h3><p>As the last step in any action, select the layer you’re going to be working on first and the tool you’re going to be using. This sets everything up for you to get straight to work once the action has finished running.</p><p>If you plan to use your actions a lot, <a href="https://design.tutsplus.com/tutorials/universal-custom-keyboard-shortcuts-in-photoshop--psd-20588" target="_self">assign them a keyboard shortcut</a> or a dedicated button on your Wacom tablet</p><p>With all that done, your actions are ready for use.</p><h2>Conclusion</h2><p>In this tutorial you have learned how to analyse your workflow and break it down into Photoshop actions. I’ve hopefully convinced you that actions aren’t just for people looking for one-click effects but are instead a great way to speed up your Photoshop workflow. If you are constantly applying the same techniques, creating actions will also help you maintain a consistent approach to editing images.</p><p>Do you use actions? Have you built your own? Let’s talk about it in the comments!<br></p>2015-05-12T21:38:48.895Z2015-05-12T21:38:48.895ZHarry Guinnesstag:design.tutsplus.com,2005:PostPresenter/psd-30418Use Retouching Techniques to Create a Caricature From a Photo<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_final.jpg"></figure><p>Photoshop includes some powerful tools to help you manipulate photos. In this tutorial, we will show you how to create a caricature portrait from a photo using many of Photoshop's advanced editing tools. In the process, you will learn how to use Adobe Camera RAW to make some global adjustments, how to use Photoshop's transformation and Liquify tools to alter the appearance of the portrait, how to retouch the image, and much more to give your portrait a cartoon or comic look. Let's get started!</p>
<p></p>
<hr>
<h2>Speed Retouching Video</h2>
<figure><iframe data-src="//www.youtube.com/embed/vTb8DPr1S68" width="600" height="450" frameborder="0"></iframe></figure>
<hr>
<h2>Tutorial Assets</h2>
<p>You will need the following assets to complete this tutorial. Please download them before you begin.</p>
<ul>
<li><a href="https://cdn.tutsplus.com/psd/uploads/2013/09/Mr_Holiday.zip">Original Photo</a></li>
</ul>
<hr>
<h2>
<span class="sectionnum">1.</span> Source Photo</h2>
<p>This is the picture out of my camera without any modification.</p>
<figure>
<img alt="Out of cam" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_0_00.jpg"><br>
</figure>
<h3>Step 1</h3>
<p>Open the DNG file in Photoshop Camera Raw. Click on "<strong>Workflow Options</strong>" at the bottom of the window.</p>
<figure>
<img alt="Workflow options" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_1_00.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Mark the checkbox: <strong>Open in Photoshop as Smart Objects</strong>.</p>
<figure>
<img alt="Open as smart object" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_1_01.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">2.</span> Raw Conversion</h2>
<h3>Step 1</h3>
<p>Right click on your original raw file and then click "<strong>New Smart Object via Copy</strong>."</p>
<figure>
<img alt="New smart object" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_2_00.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Let's start with the basics. We need a good foundation for our comic image, so check out my settings for this image.</p>
<figure>
<img alt="Color correction" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_2_01.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>It's also important to bring a little sharpness into it.</p>
<figure>
<img alt="Sharpness" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_2_02.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>To get the characteristics of our comic portrait, we need more contrast, so we set saturation of the yellow tones in his shirt a bit higher.</p>
<figure>
<img alt="Contrast" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_2_03.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>In this section you have a lot more control of different colors.</p>
<figure>
<img alt="Colors" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_2_04.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">3.</span> Resize Workspace</h2>
<h3>Step 1</h3>
<p>You know, in the end we want an image with exaggerated body parts (big head, thin arms...), so we need a little bit more space for our head. In order to achieve this, start by selecting the "<strong>Crop Tool</strong>" in the toolbar.</p>
<figure>
<img alt="Crop tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_3_01.jpg"><br>
</figure>
<p>In this step we can enlarge our image.</p>
<figure>
<img alt="Resize" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_3_02.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">4.</span> Make a Big Head</h2>
<h3>Step 1</h3>
<p>Now, we need the "<strong>Elliptical Marquee Tool</strong>."</p>
<figure>
<img alt="Marquee Tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_4_01.jpg"><br>
</figure>
<p>Use this tool to make a round selection around the head. Afterwards press CMD/CTRL + J.</p>
<figure>
<img alt="Selection around head" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_4_02.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Now it's time for the fun part! Click on "<strong>Move Tool</strong>."</p>
<figure>
<img alt="Move Tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_4_03.jpg"><br>
</figure>
<p>Change the anchor point from middle to the neck area and now change the size of the head - make it big!<br>
</p><figure>
<img alt="Resize head" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_4_04.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Around the head, you will notice a region we want to remove. Press the icon for a mask ("<strong>Add Layer Mask</strong>"). </p>
<figure>
<img alt="Add layer mask" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_4_05.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>Press "<strong>B</strong>" or select the "<strong>Brush Tool</strong>" on the toolbar.</p>
<figure>
<img alt="Brush tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_4_06.jpg"><br>
</figure>
<p>You can change the settings (size, hardness/softness) of the brush by right clicking on the image. Then remove the parts around the head that aren’t needed.</p>
<figure>
<img alt="Brush settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_4_07.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">5.</span> Liquify</h2>
<h3>Step 1</h3>
<p>Press <strong>CMD/CTRL + SHIFT + ALT + E </strong>to create a new (merged) layer. Then click on "<strong>Filter &gt; Convert for Smart Filters</strong>." Now open the filter menu again, but this time select "<strong>Liquify</strong>."</p>
<figure>
<img alt="Filter menu" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>To deform different parts we need the "<strong>Forward Warp Tool</strong>."</p>
<figure>
<img alt="Forward warp tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>You can see in my settings that I use a big brush, but you can change the size any time.</p>
<figure>
<img alt="liquify settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_03.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>Click on an area that you want to deform (do not release) and move your cursor and make a tiny body.</p>
<figure>
<img alt="liquify" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_04.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>If you want to save some parts of the image from being deformed, like this yummy pineapple, change your tool to the "<strong>Freeze Mask Tool</strong>."</p>
<figure>
<img alt="freeze mask tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_05.jpg"><br>
</figure>
<h3>Step 6</h3>
<p>Now you can mask the pineapple, for example.</p>
<figure>
<img alt="pinappe mask" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_06.jpg"><br>
</figure>
<h3>Step 7</h3>
<p>Click on the "<strong>Forward Warp Tool</strong>" and deform the armpit. The pineapple will not deform anymore.</p>
<figure>
<img alt="forward move tool armpit deformation" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_07.jpg"><br>
</figure>
<h3>Step 8</h3>
<p>Time for some organization! Rename the layers and order them in groups.</p>
<figure>
<img alt="layer structure" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_5_08.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">6.</span> Remove the Background</h2>
<h3>Step 1</h3>
<p>A nice way to remove backgrounds is by using the <strong>Pen Tool</strong>.</p>
<figure>
<img alt="Pen tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_6_01.jpg"><br>
</figure>
<p>Sometimes it's a lot of work but you know the saying: No pain no gain! You must select the complete silhouette of the person. </p>
<figure>
<img alt="Silhouette selection" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_6_02.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>When that is completed, click on the mask icon ("<strong>Add Layer Mask</strong>") again.</p>
<figure>
<img alt="Add layer mask" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_6_03.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">7.</span> Create a New Background</h2>
<h3>Step 1</h3>
<p>Just click on "<strong>Layer &gt; New Fill Layer &gt; Solid Color</strong>."</p>
<figure>
<img alt="New fill layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_7_01.jpg"><br>
</figure>
<p>I use grey (#494949), but you can use any color you want.</p>
<figure>
<img alt="Color chooser" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_7_02.jpg"><br>
</figure>
<p>It's important that the fill layer is under the person. As you can see, I always use groups for my layers.</p>
<figure>
<img alt="Layer groups" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_7_03.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">8.</span> Retouching</h2>
<h3>Step 1</h3>
<p>It's time for some retouching. Click on the "<strong>Lasso Tool</strong>."</p>
<figure>
<img alt="Lasso tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Then select the "Shape" layer.</p>
<figure>
<img alt="shape-layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Make a selection of the wickerwork and press CMD/CTRL + J.</p>
<figure>
<img alt="Wickerwork selection" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_03.jpg"><br>
</figure>
<p>After this shortcut you will get the selection on a new layer.</p>
<figure>
<img alt="New layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_04.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>It's easier to find the layers when you name them. In this case, I called the layer "<strong>Retouching</strong>."</p>
<figure>
<img alt="Renamed layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_05.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>Now you must mirror the layer with the "<strong>Move Tool</strong>" and move it into the correct position.</p>
<figure>
<img alt="Place mirrored layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_06.jpg"><br>
</figure>
<h3>Step 6</h3>
<p>To fade the layer you can use the eraser ("<strong>Eraser Tool</strong>") and smooth out the edges.</p>
<figure>
<img alt="Eraser tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_07.jpg"><br>
</figure>
<h3>Step 7</h3>
<p>We are not finished yet! Let's correct some skin imperfections with the "<strong>Healing Brush Tool</strong>."</p>
<figure>
<img alt="Healing brush tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_08.jpg"><br>
</figure>
<p>It's very easy: Look for a spot that you want to correct and select a clean part from the area around it while pressing the "ALT-key" Now you can brush over the skin impurities.</p>
<figure>
<img alt="Heal skin" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_09.jpg"><br>
</figure>
<p>Here is a little before/after-image.</p>
<figure>
<img alt="Before and after healing" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_8_10.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">9.</span> Frequency Separation</h2>
<p>Now I will show you a technique from Natalia Taffarel. Many people use it for high end retouchings. You will split the image in two parts: color and details. That way, you have more options to get a perfect result. Let's start:</p><p></p>
<h3>Step 1</h3>
<p>First, duplicate the layer with CMD/CTRL + SHIFT + ALT + E and afterwards press CMD/CTRL + J. Finally you get two copies of the merged layer. Now put it into its own group. In this case, I named the group "<strong>Frequency Separation</strong>" and the first copy of the layer: "color."</p>
<figure>
<img alt="Two layers" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Select the layer "<strong>Color</strong>" and use "<strong>Gaussian Blur</strong>."</p>
<figure>
<img alt="Gaussian blur filter" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_02.jpg"><br>
</figure>
<p>It's very important that you use a radius of "<strong>10px</strong>."</p>
<figure>
<img alt="Gaussion blur filter settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_03.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Now rename the other layer copy to "<strong>Details</strong>" and go to "<strong>Image &gt; Adjustments &gt; Brightness/Contrast</strong>."</p>
<figure>
<img alt="Brightness and contrast" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_04.jpg"><br>
</figure>
<p>So watch out! First click on "use legacy" and then set the contrast value to "<strong>-50</strong>."</p>
<figure>
<img alt="Brightness and contrast settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_05.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>Next step for our detail layer is to use the "<strong>High Pass</strong>" filter. You will find it on "<strong>Filter &gt; Other &gt; High Pass</strong>." Set the radius again to "<strong>10px</strong>."</p>
<figure>
<img alt="High pass filter" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_06.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>Change the layer style of layer "<strong>Details</strong>" to "<strong>Linear Light</strong>."</p>
<figure>
<img alt="Linear light blend mode" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_07.jpg"><br>
</figure>
<h3>Step 6</h3>
<p>In this step we will remove the print on his shirt. So just select the "<strong>Details</strong>" layer and choose the "<strong>Clone Stamp Tool</strong>."</p>
<figure>
<img alt="Clone stamp tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_08.jpg"><br>
</figure>
<h3>Step 7</h3>
<p>Make sure, that you have selected "<strong>Current Layer</strong>" on option panel above the image.</p>
<figure>
<img alt="Cleaning the shirt" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_09.jpg"><br>
</figure>
<h3>Step 8</h3>
<p>Now it's time to remove the print on the shirt. Take your time for a good result.</p>
<figure>
<img alt="Cleaned shirt result" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_10.jpg"><br>
</figure>
<p>The result looks a little bit blurry, but here comes the magic trick. </p>
<figure>
<img alt="Blurry result" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_11.jpg"><br>
</figure>
<h3>Step 9</h3>
<p>Put a new layer between "<strong>Details</strong>" and "<strong>Color</strong>", rename it to "<strong>Magic</strong>" and praise the inventor of this layer: Calvin Hollywood.</p>
<figure>
<img alt="Magic layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_12.jpg"><br>
</figure>
<h3>Step 10</h3>
<p>Select the "<strong>Brush Tool</strong>," opacity around "<strong>20%</strong>" and select a yellow color of his shirt while pressing the "ALT"-Key. Now brush over the blurry font. You will see: it's gone!! You can also remove some dark parts in his face or on the pineapple with this way.</p>
<figure>
<img alt="Cleaning the shirt on magic layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_9_13.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">10.</span> Color</h2>
<h3>Step 1</h3>
<p>Select the "<strong>Polygonal Lasso Tool</strong>"</p>
<figure>
<img alt="Pen tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>And make a selection around the t-shirt, this does not need to be very accurate!</p>
<figure>
<img alt="Body selection" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Then add an adjustment layer "<strong>hue/saturation</strong>." Select the yellow tones and pick up the "<strong>eyedropper tool</strong>" and make a point on his shirt.</p>
<figure>
<img alt="Hue and saturation" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_03.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>Change the Hue to "<strong>+155</strong>", which will change the yellow shirt into a blue one.</p>
<figure>
<img alt="Hue and saturation hue settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_04.jpg"><br>
</figure>
<p>Sometimes you will see some yellow tones in other areas. You can adjust those with the little arrows - move them a little bit. If this does not work, you can use a mask.</p>
<figure>
<img alt="Hue and saturation color adjustments" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_05.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>Choose "<strong>edit in quick mask mode</strong>" and select his teeth.</p>
<figure>
<img alt="Quick mask mode" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_06.jpg"><br>
</figure>
<h3>Step 6</h3>
<p>Brush over the teeth, the mask does not need to be perfect again. When you are finished, click on the button again and you will see the selection.</p>
<figure>
<img alt="Mask teeth" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_07.jpg"><br>
</figure>
<h3>Step 7</h3>
<p>To change the colors of the teeth we need a new adjustment layer. In this case "<strong>Hue/Saturation</strong>."</p>
<figure>
<img alt="Hue and saturation" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_08.jpg"><br>
</figure>
<p>In this picture you will see my settings, for brighter teeth.</p>
<figure>
<img alt="Hue and saturation settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_09.jpg"><br>
</figure>
<h3>Step 8</h3>
<p>I do the same with his eyes: Select the pupil and add a "<strong>Selective Color</strong>" adjustment layer.</p>
<p>Choose the color <strong>gray</strong>, Move the cyan slider to <strong>+58%</strong> and yellow to <strong>-78</strong> to adjust to change to color to blue.</p>
<figure>
<img alt="Selective color" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_10.jpg"><br>
</figure>
<h3>Step 9</h3>
<p>For brighter eyes, you have to change the blending mode to "<strong>Linear Dodge</strong>" and an opacity of around "<strong>20-30px</strong>."</p>
<figure>
<img alt="Linear dodge blend mode" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_11.jpg"><br>
</figure>
<h3>Step 10</h3>
<p>In the last part of this chapter we change the "<strong>Vibrance</strong>" of the hat. So we must create a selection of it.</p>
<figure>
<img alt="Mask hat" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_12.jpg"><br>
</figure>
<h3>Step 11</h3>
<p>Click on the little icon and then on "<strong>Vibrance</strong>." You can set the "<strong>Vibrance</strong>" to "<strong>+100</strong>" and "<strong>Saturation</strong>" to "<strong>+15</strong>."</p>
<figure>
<img alt="Vibrance" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_13.jpg"><br>
</figure>
<h3>Step 12</h3>
<p>The last two things you have to do is to change the blending mode to "<strong>Soft Light</strong>" and the opacity to "<strong>40%</strong>."</p>
<figure>
<img alt="Soft light blend mode for hat" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_10_14.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">11.</span> Build Your Own Smiley</h2>
<h3>Step 1</h3>
<p>Start a new document using the menu entry "<strong>File &gt; New...</strong>" and the following settings:</p>
<figure>
<img alt="New document" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Change the foreground color to yellow; I use "#f1b500" - then select the "<strong>Ellipse Tool</strong>."</p>
<figure>
<img alt="Color chooser" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Make a big circle in the middle of this document, press CMD/CTRL + R for rulers and set marks for eyes.</p>
<figure>
<img alt="Circle selection" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_03.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>Use the "<strong>Ellipse Tool</strong>" again, but press "ALT" to remove it from the big circle. You can use the "<strong>Direct Selection Tool</strong>" to move the eyes to the correct position.</p>
<figure>
<img alt="Add eyes" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_04.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>The mouth is missing, so here we go - repeat the previous technique.</p>
<figure>
<img alt="Add mouth" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_05.jpg"><br>
</figure>
<h3>Step 6</h3>
<p>Select the "<strong>Delete Anchor Point Tool</strong>" and remove the point on the top.</p>
<figure>
<img alt="Delete anchor point tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_06.jpg"><br>
</figure>
<h3>Step 7</h3>
<p>Now put a little smile on his face. Move the anchor on the left and right more to the middle. Once you are done, select the "move tool" and move the complete smiley to the comic image.</p>
<figure>
<img alt="Make him smile" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_07.jpg"><br>
</figure>
<h3>Step 8</h3>
<p>It's important to get a good overview, so rename and group the layers again.</p>
<figure>
<img alt="Rename the group" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_08.jpg"><br>
</figure>
<h3>Step 9</h3>
<p>With right click on the smiley layer you have the option to "<strong>Rasterize Layer</strong>" - it's important for the next steps.</p>
<figure>
<img alt="Rasterize Layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_09.jpg"><br>
</figure>
<h3>Step 10</h3>
<p>Select the "<strong>Move Tool</strong>" and bring it to the right position on his shirt. Don't forget to transform the perspective. Finally set the blending mode to "<strong>Color</strong>."</p>
<figure>
<img alt="Place smily" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_10.jpg"><br>
</figure>
<h3>Step 11</h3>
<p>Now it's time to make it more realistic. Use the "<strong>Smudge Tool</strong>" to make creases.</p>
<figure>
<img alt="Smudge tool" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_11.jpg"><br>
</figure>
<h3>Step 12</h3>
<p>After the smudge part, you have to edit the area with the flowers using a mask.</p>
<figure>
<img alt="Edit smily" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_11_12.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">12.</span> Change Background Color</h2>
<h3>Step 1</h3>
<p>So now let’s change the background color. I use the following color: "#bf8213."</p>
<figure>
<img alt="Color chooser" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_12_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Use the "<strong>Elliptical Marquee Tool</strong>" and make a little selection like this:</p>
<figure>
<img alt="Elliptical marquee tool selection" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_12_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>The next step is to make the selection a bit smoother, go to "<strong>Select &gt; Modify &gt; Feather</strong>" and use a radius about "<strong>400px</strong>."</p>
<figure>
<img alt="Feather selection" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_12_03.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>Click on the little icon and choose "<strong>Levels</strong>."</p>
<figure>
<img alt="Adjust levels" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_12_04.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>Move the midtone slider to the left or type the value "<strong>2.57</strong>" into the field.</p>
<figure>
<img alt="Levels settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_12_05.jpg"><br>
</figure>
<h3>Step 6</h3>
<p>Repeat the steps (make the selection a little bit bigger, make it smoother, add a levels adjustment layer). Invert the mask with CMD/CTRL + I and slide the midtones to the right round about "<strong>0.65</strong>."</p>
<figure>
<img alt="Levels settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_12_06.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">13.</span> Refine Mask</h2>
<h3>Step 1</h3>
<p>When you look closely, you will see some dirty edges. That is the reason, why we have to refine the mask of the person. Click on the mask:</p>
<figure>
<img alt="Mask selection" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_13_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Go to "<strong>Filter &gt; Blur &gt; Gaussian Blur</strong>" and use a "<strong>1.5px</strong>" radius.</p>
<figure>
<img alt="Gaussian blur filter settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_13_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Next segment is "<strong>Filter &gt; Other &gt; Minimum</strong>" and set the value to "<strong>2.5px</strong>."</p>
<figure>
<img alt="Minimum filter" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_13_03.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">14.</span> Dodge and Burn</h2>
<h3>Step 1</h3>
<p>Create a new group and name it "<strong>Dodge and Burn</strong>." Click on "<strong>Layer &gt; New &gt; Layer</strong>." Name it "<strong>Dodge and Burn Hard</strong>" use overlay and <strong>50% gray</strong>.</p>
<figure>
<img alt="Create DB layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_14_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Select the brush tool and use a soft brush with a opacity of "<strong>2%</strong>." you can boost the shadows and the highlights with this brush. Change the color by pressing the <strong>"X" key</strong>.</p>
<figure>
<img alt="Dodge and burn example" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_14_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Repeat the step on a new layer, but for this step, use "<strong>Soft Light</strong>" instead of "<strong>Overlay</strong>."</p>
<figure>
<img alt="Dodge and burn only view" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_14_03.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">15.</span> Color Mood</h2>
<h3>Step 1</h3>
<p>Create a new group with the name "<strong>Color and Light Front</strong>" then click on the little icon for adjustment layers and choose "<strong>Solid Color</strong>."</p>
<figure>
<img alt="Solid color adjustment" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_15_01.jpg"><br>
</figure>
<p>Fill it with "#bf8213."</p>
<figure>
<img alt="Solid color adjustment settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_15_02.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>It's very important that the background and the person will be merged to one. Therefore, we set the blending mode to "<strong>Color</strong>" with a low opacity.</p>
<figure>
<img alt="Color blend mode" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_15_03.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Press the icon for a new blank layer.</p>
<figure>
<img alt="New layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_15_04.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>You can name this one "<strong>light</strong>." Use a small white brush - low opacity (around "<strong>3%</strong>") and brush over the neck to make the illusion of rays.</p>
<figure>
<img alt="Lighten neck" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_15_05.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">16.</span> Painted Look</h2>
<h3>Step 1</h3>
<p>Create a new group, name it "<strong>Final</strong>" and merge all layers with CMD/CTRL + SHIFT + ALT + E.</p>
<figure>
<img alt="Merged layers" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_16_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Rename it to "<strong>Paint Look</strong>" and change it to a smart object by clicking with right click on it.</p>
<figure>
<img alt="Convert to smart object" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_16_02.jpg"><br>
</figure>
<h3>Step 3</h3>
<p>Click on "<strong>Filter &gt; Oil Paint</strong>"</p>
<figure>
<img alt="Oil paint filter" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_16_03.jpg"><br>
</figure>
<h3>Step 4</h3>
<p>In this image you will see the settings:</p>
<figure>
<img alt="Oil paint filter settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_16_04.jpg"><br>
</figure>
<h3>Step 5</h3>
<p>Add a mask and press CMD/CTRL + I to invert. Now you can use a white brush and open different parts where the effect came through.</p>
<figure>
<img alt="Paint oil on the image" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_16_05.jpg"><br>
</figure>
<hr>
<h2>
<span class="sectionnum">17.</span> Camera Raw Filter</h2>
<h3>Step 1</h3>
<p>Finally we come to an end: Merge all layers to one by pressing CMD/CTRL + SHIFT + ALT + E and rename the layer to "<strong>Camera Raw Filter</strong>." convert it to a smart object by clicking on "<strong>Filter &gt; Convert for Smart Filter</strong>."</p>
<figure>
<img alt="Camera raw filter layer" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_17_01.jpg"><br>
</figure>
<h3>Step 2</h3>
<p>Click on <strong>Filter &gt; Camera Raw Filter</strong>. Here are my final settings:</p>
<figure>
<img alt="Camera raw filter" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_17_02.jpg"><br>
</figure>
<figure>
<img alt="Camera raw filter settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_17_03.jpg"><br>
</figure>
<figure>
<img alt="Camera raw filter settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_17_04.jpg"><br>
</figure>
<figure>
<img alt="Camera raw filter settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_17_05.jpg"><br>
</figure>
<figure>
<img alt="Camera raw filter settings" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_Step_17_06.jpg"><br>
</figure>
<hr>
<h2>Conclusion</h2>
<p>Congratulations! You made it! Our original photo now looks like a caricature. We hope that you have learned something from this tutorial and that you can apply what you learned to create your own comic and caricature effects.</p>
<figure> <a href="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_final_large.jpg"><img alt="Final image" data-src="https://cdn.tutsplus.com/psd/uploads/2013/09/0913_Mr_Holiday_final.jpg"></a><br>
</figure><figure><h2>Extra Resources</h2>
<p>If you're interested in getting some help with your caricatures, Envato Studio has a great collection of <a href="https://studio.envato.com/explore/caricatures-cartoon-design" target="_self">caricature and portrait services</a> that you might like to explore.</p></figure>2013-10-07T04:10:37.000Z2013-10-07T04:10:37.000ZGabor Richtertag:design.tutsplus.com,2005:PostPresenter/psd-129Super Fast and Easy Facial Retouching<p>In this tutorial, I will show you how to repair some image noise from a low-quality shot, and I will show you an extremely quick and easy way to smooth out a person's face. The woman in this shot is not a model, and she has a lot of character so we don't want to overdo it with the smoothing. We will make it look real and natural.</p>
<h3>The Image</h3>
<p>You can get the image we're using in this tutorial from Free Range Stock <a href="http://www.freerangestock.com/details.php?gid=&amp;sgid=&amp;pid=1551">here</a>. The technique can be applied to a beauty shot as well, you would just have to adjust the settings on some of the steps to get a more extreme smoothing effect. </p>
<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/legacy/104_Facial/source_hv.jpg"></figure>
<h3>Step 1</h3>
<p>If you look at the blue channel, you will notice that it doesn't look so good. There are a lot of JPG artifacts that you don't really see when looking at the RGB composite, but it's good to fix it for a variety of reasons. Importantly, it will reduce the color noise in the image and give us more flexibility when making corrections later down the line.</p>
<p>Duplicate the Background layer. On the new layer go to Filter &gt; Blur &gt; Gaussian Blur. Enter 10 for the radius. Hit OK. Set the layer's blending mode to color. Double-click on the layer to the right of the name to open the blending options. Under Advanced Blending, uncheck the R and the G. This makes the layer only affect the blue channel no matter what we do to it. Now go back and check out the blue channel. Looks better.</p>
<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/legacy/104_Facial/Picture-1.jpg"></figure>
<h3>Step 2</h3>
<p>Now I will use Curves to balance the color in the image. I suggest using Curves over Levels for everything. Curves just gives you much more control. </p>
<p><a href="http://psdtuts.s3.amazonaws.com/104_Facial/color.acv">Download my curve preset</a> to your hard drive.</p>
<p>Create a new Curves Adjustment layer at the top of the layers palette, then click the little button to the right of the Preset control, and select Load Preset and load the file.</p>
<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/legacy/104_Facial/step2.jpg"></figure>
<h3>Step 3</h3>
<p>The technique that we are going to use to smooth out the face doesn't require very much cloning at all. I do want to use the Healing Brush Tool (J) on any major freckles or blemishes, in this case her four large freckles.</p>
<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/legacy/104_Facial/Picture-3.jpg"></figure>
<p>Create a new blank layer just above the background copy. Select the Healing Brush (J) and make sure that "Sample All Layers" is checked on the property bar. Paint over those spots to remove them. </p>
<p>A good rule of thumb is to never modify your source image in any way. That is why we used the healing brush on a new layer. You never know when you might need to go back to where you started.</p>
<h3>Step 4</h3>
<p>Select the three layers below the Curve layer. Drag them down to the New Layer button to duplicate them. Hit Command+E to merge the three duplicates.</p>
<p>Select the Polygonal Lasso Tool and click around her face until all the skin is selected. It doesnt need to be too neat. Now go back, and while holding Alt, click around and deselect anything that is not skin like the eyes, eyebrows, lips, and nostrils. Go back once more and deselect any areas of detail that need to remain, like the edge of the nose, her dimples, her collar bones, and the edge of her chin. This is what my selection looks like as a quick mask:</p>
<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/legacy/104_Facial/Picture-5.jpg"></figure>
<p>Hit Shift+Command+I to invert the selection and then Delete to delete those pixels. You won't actually notice a change because the layers below are the same as the layer we are working on.</p>
<h3>Step 5</h3>
<p>Go Filter &gt; Blur &gt; Gaussian Blur. Enter 20 for the Radius. Set the layer Opacity to 75%. Select and duplicate the same bottom three layers just like we did before. Hit Command+E to merge them. Put that layer just above the blurred layer. With the new layer selected, hit Command+Alt+G. This creates a clipping mask, which is indicated by the arrow pointing down on the layer. This means that the layer on top will use the bottom layer's transparency as a mask.</p>
<h3>Step 6</h3>
<p>With your new layer still selected, go to Filter &gt; Other &gt; High Pass. Enter 4 for the Radius.</p>
<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/legacy/104_Facial/Picture-6.jpg"></figure>
<p> Now you can really see how that clipping mask is working, but not for long. Set the blending mode of the layer to Linear Light and set the Opacity to 40%. Done!</p>
<p>Rollover the image below to see the before / after...</p>
<figure><img alt="" data-src="https://cdn.tutsplus.com/psd/uploads/legacy/104_Facial/source_nm.jpg"></figure>
<p>This will pretty much work on any portrait, but the goal isn't to make the person look like a model, it's just meant to smooth things out a bit yet still look natural. That is why it works well on everyday average people.</p>
2008-03-25T01:47:14.000Z2008-03-25T01:47:14.000ZKyle Pero